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FRICNDS OF THE FOCC
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MICHELANGELO
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LIFE AND WORKS
OF
MICHELANGELO BUONARROTI
CHARLES HEATH WILSON
THE LIFE PARTLY COMPILED
FROM THAT
BY THE
COMMEND. AURELIO GOTTI
DIRECTOR
OF TUB ROYAL GALLERIF.8
OF FLORENCE
LONDON
JOHN MURRAY, ALBEMARLE STREET
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MICHELANGELO BUONARROTI
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1
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PREFACE
ivaliere Gosimo Buonarroti the
lineal descendant of Buonarroto
Buonarroti de' Simoni younger
H brother of Michelangelo was born
on the fifth of November 1790
atBastiain Corsica. His mother
after her husband's death resided
at Pisa where her son studied
literature and law in the University there.
With a high reputation as a lawyer he filled successively
important legal appointments, beginning in 1814 with that
of Auditor of the Royal Court of Florence, he was also ap-
pointed Censor of the Lyceum and Assistant Secretary of the
Legislative Commission.
In 1833 he was promoted to be Auditor of the High Court
of the Ruota and nominated President three years afterwards.
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vi PREFACE
When a reform of the judicature was attempted in 1838,
he was appointed Vice-President of the Royal Court and a
Counsellor in 1840. He sat as Counsellor of the High Court
of Cassation for six years, when the Grand Duke, having re-
solved to give the country institutions in harmony with pro-
gress and change of circumstances, created the Council of
State of which Buonarroti was made Vice-President.
After the events of 1849 this office was abolished, hut he
was not forgotten and was elected Counsellor of State in or-
dinary service, after which he became Minister of Public In-
struction in 1852.
He died on the 12th of February 1858 and bequeathed
his residence, the house purchased by Michelangelo in the
Via Ghibellina, to the City of Florence, with the collection
of works of art, manuscripts and memorials of the great Ar-
tist which it contains. The Syndic of Florence, the Director
of the Royal Galleries and the Librarian of the Laurentian
Library for the time being, were constituted Trustees under
the Will.
The Cavaliere married Rosina Grant on the fourteenth of
February 1846. She was the daughter of Giovanni Vendra-
mini a Venetian gentleman and Lucia Diaz Faria a noble
Portuguese lady, and was born in London on the twenty-
second of August 1814. She was married first to Mr Tho-
mas Grant. After her second marriage she became a wor-
shipper of the memory of Michelangelo. She diligently copied
such manuscripts in the family Archives as had suffered from
the effects of time, repaired the damages, and in her careful
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PEEFACE vn
researches was rewarded by finding in the secret recesses of
a cabinet several models by the great artist, amongst which
a sketch for his statue of David.
This accomplished lady, after a life of good works and of
many charities, died on the 11th of June 1856, bequeathing
a capital sum of 20,000 livres, the interest of which was to
be applied to the maintenance of the Gasa Buonarroti. l
As one of the means of celebrating the fourth centenary
of the birth of Michelangelo, it was resolved to publish his
letters preserved in the Buonarroti Archives, the arrange-
ment and editing of these being confided to the Gav. Gaetano
Milanesi, whose profound knowledge ,of ancient records so
pre-eminently fitted him for the task. A Bibliography relating
to Michelangelo prepared by Count Luigi Passerini, the dis-
tinguished Librarian of the National Library, was also to
be published at the same time. Besides these important and
interesting works, the Gommendatore Aurelio Gotti who holds
the high office of Director of the Royal Galleries and Mu-
seums of Florence undertook a new Life of Michelangelo to
be illustrated by unpublished documents contained in the
Buonarroti Archives as well as by others already known.
The present Life of Michelangelo was undertaken with the
wish to present the inedited documents translated into Eng-
1 Corimo Buonarroti was not without heirs for descendants of Buon-
arroto Buonarroti are still Hying, but had he not thus disposed of his
property, it would have been dispersed after his death, with no reverence
for the memory of Michelangelo, and no object but to make money to be
wasted. By his Testament, Cosimo Buonarroti preserved the Casa Buon-
arroti and its contents from this fate.
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viii PREFACE
lish, and the Comraendatore Gotti, with rare liberality and
generosity, freely communicated to me those selected for his
own important «Life of Michelangelo , » on which he was
then engaged.
It was my first intention to make a translation of the Com-
mendatore Gotti's book, but I found myself unable to circum-
scribe my account of the works of Michelangelo within the
limits drawn by Giorgio Vasari and Ascanio Condi vi. I had
for many years wished to write a technical notice of the fres-
cos of the Sixtine Chapel, had made some notes with this
object in 1842 and had then become aware that without a
scaffold it would be impossible to make accurate observations.
I explained my ideas to my friend who without hesitation
permitted me to retain the valuable documents which he had
lent me, and without which no account of the works of Mi-
chelangelo can be complete. The value of this concession
may be more obvious, when it is considered that if access had
been granted to the original documents, previously invariably
refused, more than a years labour would have been necessary
to make copies similar to those placed so freely in my hands.
I therefore, take this opportunity of expressing my gratitude
to the Commendatore Aurelio Gotti for his courtesy and
kindness.
Before attempting to write an account of the frescos of the
Sixtine Chapel, knowing it to be impossible to examine them
accurately without a scaffold, I wrote to Sir William Stirling
Maxwell to Mr William Thomas Thomson and Mp James Hay
upon the subject. They took a warm interest in my plan
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PREFACE ix
and in a short time a favourable opportunity was afforded ine
of carrying it out.
By the influential introduction of Mr Robert Monteith of
Garstairs to His Excellency Monsignore, now Cardinal Pacca,
Chamberlain to His Holiness the Pope, facilities were
granted, with a liberality and kindly courtesy, of which I
would express my grateful appreciation. A moveable scaf-
fold fifty-four feet in height was erected, and a rare opportu-
nity afforded of examining the magnificent and altogether
unequalled frescos of the vault. The Last Judgment on the
west wall was also inspected, but not so closely, because
the altar steps prevented the near approach of the wooden
tower.
Whatever may have been the treatment of the frescos in
past and less enlightened times, which I have felt it to be
my duty to describe without reserve, it is evident from the
numerous and noble yrorks of restoration carried on in the
reign of Pius IX, that the Sixtine Chapel would not have
been uncared for had circumstances permitted.
I must further record my sense of obligation to the Count
Passerini, 1 to the Cavaliere Gaetano Milanesi, to the Cava-
liere Giorgio Campani Inspector of the Royal Museum and
Galleries in Florence whose unwearied kindness is gratefully
appreciated by so many of my countrymen, and also to the
Cavaliere Carlo Pini for his assistance.
1 The notice of the late Cavaliere Cosimo Buonarroti in this introduction
has been taken almost verbatim from Count Passerini's history of the
Buonarroti in the appendix to Signor G-otti's work.
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x PREFACE
To my friend Hr James Jackson Jarves whose knowledge
of art is so well known and appreciated, I have been indebted
for invaluable advice and encouragement. I have also to
thank another friend Mr W. Mondeford Bramston who accom-
panied me to Rome and kindly aided me in my daily visits
to the Sixtine and ascent of the tall and tremulous scaffold,
from the summit of which we made our observations.
The drawings for the illustrations have been executed by
Signor Filippo Leonardi and reproduced by Signori Pietro
Smorti and Company. The printing has been conducted at
the establishment of the Gazzetta d'ltalia under the care of
the Gavaliere Landi. The workmen employed being all Ita-
lians without any knowledge of the English Language, a fact
which might have excused a larger list of errata than that
appended to these pages.
The wood-cuts have been engraved from my own designs
by Professor Ratti of Bologna and Signor Cipriani of Flo-
rence.
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CONTENTS
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CONTENTS
Chapter I
The Birth, Parentage and Education of Michelangelo Buonarroti
De' Simoni
1476
8ixt%» IV
Lorenzo
de* Medici
1478
Lorenzo
1488
nu
1489
1490
Page
Birth of Michelangelo at Caprese 3
His fathers position. Name of his mother. Becord of
his birth lb.
His supposed descent from the Counts of Oanossa . . 4
Letter of Count Alexander. Acknowledging the rela-
tionship 5
Real descent of the Buonarroti Simoni 6
Michelangelo sent to school, his passion for drawing . 7
Placed in the workshop of Domenico and David Ghir-
landajo 8
The drawing of the Satyr in his father's villa. His
rapid progress 10
Witnesses fresco painting in Santa Maria Novella . . 11
His imitations of old drawings, his first picture .... 12
Transferred to the new Academy of St Mark and placed
under the Sculptor Bertoldo 13
Taught to model. His copy of a mask of a faun in
marble 14
Noticed by Lorenzo the Magnificent and becomes an
inmate of his family 15
Studies literature under Politian. His relief of Her-
cules and Centaurs 17
Madonna and Child in imitation of the art of Donatello lb.
His quarrel with Torregiani 18
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XIV
1492
Alexander VI
Pier de'Medici
1494
Republic
1495
1496
1497.
1498
CONTENTS
P*ge
Death of Lorenzo the Magnificent Michelangelo re-
turns home 20
Sculptures a colossal Hercules lb.
Sent for by Pier de'Medici to make a statue of snow 21
Again a resident in the Medici Palace, studies anatomy lb.
Foreseeing the ruin of the Medici goes to Bologna. His
friendship with Aldovrandini. Sculpture of two
Statues for the Altar of San Domenico 23
He returns to Florence. His statue of St John 25
History of the discovery of this statue 26
Michelangelo sculptures a sleeping Cupid, imitative of
ancient art lb.
It is sold at Borne to Cardinal San Giorgio as ancient lb.
Visit to Michelangelo of an agent of the Cardinal . . 27
Chapter II
Michelangelo's first visit to Rome
Michelangelo goes to Rome on the invitation of Car-
dinal San Giorgio 29
His letters of recommendation lb.
His letter to Lorenzo di Pier de'Medici 30
He sculptures a statue called Cupid 32
This* statue more probably an Apollo lb.
History of the discovery of this statue 33
Cartoon for a picture of St Francis . 34
Notice of the father and brothers of Michelangelo . . 35
Michelangelo writes to his father 37
Piero de'Medici in Rome 38
Michelangelo describes the attacks made by Fra Ma-
riano on Savonarola lb.
The statue of Bacchus and Condivi's description of it 39
Description of this statue and criticism 40
Cardinal of St Denis gives a commission for the group
of the Pieta 41
Michelangelo's defence of the youthful appearance of
the Virgin 42
The group of the Virgin and Child now at Bruges
probably commenced 43
Ludovico Buonarroti writes to Michelangelo as to the
state of his health and his penurious habits 44
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CONTENTS
Chapter III
Michelangelo eetuexs to Florence and executes
the Statue of David
i&oi
1608
Pirn* 111
Julimt 11
J604
Page
Michelangelo returns to Florence 47
He contracts with Cardinal Piccolomini for fifteen
statues 48
The commission of the Municipality to execute the
statue of David 49
He agrees to execute it in two years 50
His method of working lb.
Description of the statue 51
List of the Deputies appointed to place the statue .... 52
Works of sculpture in Tuscany usually placed in bad
lights 53
The statue of David carried to its place 54
Statue of David for Marshall Gie 56
Two round reliefs each representing the Virgin and
Child 57
The Statue of St Mark commenced, being* part of a
commission to sculpture the twelve Apostles for the
Cathedral lb.
Description of this unfinished statue 58
Michelangelo's commissions amount to thirty seven
statues 59
He paints a circular picture in oil for Angelo Doni 60
Description of this picture 61
The entombment in the National Gallery London ... 65
The unfinished picture of the Madonna and Child
St John and other figures in the National Gallery
London 66
Commission to paint in the great Hall of the Muni-
cipal Palace Florence 69
Lionardo da Vinci's picture on the opposite wall ... lb.
On the invitation of Julius II, Michelangelo goes to
Borne 71
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I
XYI
CONTENTS
1606
Chapter IV
Michelangelo aju> the Monument of Julius II
Page
Pope Julius commissions Michelangelo to sculpture his
monument 73
Specification of the design 74
Julius resolves to rebuild St Peters 76
Michelangelo goes to Carrara to purchase marble for
the monument lb.
Remains there eight months 77
The marble is brought to Rome 78
The Pope is at first much interested in the progress
of the monument lb.
Suddenly changes his mind lb.
Bramante the architect shows himself to be the enemy
of Michelangelo 79
Michelangelo suddenly leaves Rome lb.
Overtaken at Poggibonsi by Papal couriers 80
Refuses to return lb.
Writes to Giuliano da Sangallo to explain his motives 81
Pietro Roselli writes to Michelangelo as to the con-
duct of Bramante 83
The Pope presses the Municipality of Florence to send ,
Michelangelo to Rome 84
Michelangelo refuses to go 85
He states in a letter how much time would be required
to execute the monument 86
Resumes his work on the cartoon 87
Description of the cartoon from various sources .... 88
Value and importance of drawing with the crayon ... 89
Division between Lionardo da Vinci and Michelangelo 90
Michelangelo insults Lionardo 91
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CONTENTS
Chapter V
Michelangelo goes to Bologna in obedience to the command
op Pope Julius II
Page
isos I Expedition of Julius to Bologna 94
I Michelangelo consents to go there 95
Letters of recommendation from the Signory and the
Gonfaloniere Soderini lb.
His arrival in Bologna and interview with the Pope 96
Julius orders a statue of himself to be made in bronze 97
Rapid progress of the model 98
Conduct of Michelangelo's assistants Lapo and Lu-
dovico , lb.
1507 Letter to his father on the subject 99
His penurious life in Bologna 101
The story of the dagger for Pietro Aldobrandini .... 103
The Pope examines the model of the statue 104
Departs from Bologna and returns to Borne lb.
Preparations for casting the statue in bronze 105
The wax mould 106
Michelangelo's account of the state of parties and at-
tack on the city 108
Maestro Bernardino, bronzist, visits Bologna to cast the
statue lb.
A furnace built and metal provided lb.
Failure of the casting 109
Michelangelo's patience lb.
Letter to his brother on the failure of the casting . . lb.
The cast completed on the second trial Ill
( Michelangelo's hard work chasing the bronze lb.
1508 j The statue erected over the door of the Church of
I San Petronio. (Is thrown down in the Year 1511) . 112
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CONTENTS
Chapter VI
Michelangelo settles in Florence - Summoned to Rome
by Julius II -He goes there
1608
Page
Michelangelo returns from Bologna to Florence 115
Establishes his workshop in the Borgo Pinti lb.
Works which he had left in an unfinished state lb.
His wish to settle in Florence 116
Summoned by Julius II to go to Rome, he obeys . . ' lb.
Is declared free and of age by his father 117
The Pope informs him that he must paint the vault
of the Sixtine in fresco lb.
Michelangelo is indisposed to accept the commission. . . lb.
His account of the Pope's contract with him 118
Bramante instructed to erect a scaffold, its unfitness lb.
Michelangelo erects a proper scaffold 119
Vasari's account of the commencement of the frescos
in the Sixtine 120
Michelangelo's statement when he began to work . . . 121
This statement generally misunderstood lb.
He writes to Florence for certain colours on the 15th
of May 122
He pays for plastering the vault. Accounts closed on
the 27th July 124
Granacci writes to him about assistants 22d July ... lb.
Also on the 24th July on the same subject 125
Michelangelo is in Florence in August 127
On his return to Rome he draws up his contract with
assistants 128
His letter to his father on the conduct of his brother
Giovansimone 129
His letter to Giovansimone lb.
Preparations which Michelangelo must have made . . . 131
The failure of his plan of assistance 132
He treated the assistants with courtesy 133
The true history of the painting of the vault more
wonderful than that usually related 134
Description of the Sixtine chapel 135
Michelangelo's division of the vault decoratively .... 136
The selection of the subjects left to his judgment. . . 137
The number of figures in the whole of the sutyects lb.
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1508
CONTENTS xix
Page
Contrasted with the first commission to paint twelve
apostles .# 137
His general idea of the design and colossal size of
the figures 138
His method of preparing his designs 139
His system of transferring the outline to the wet plaster 140
Michelangelo'^ style of design, life, action and ex-
pression ■* 142
His power as a designer 143
The subjects on the vault and their treatment 144
The decorative treatment, beauty of the figures 146
Contrast between his ideas of ornament and those of
the School of Eaffael 147
His treatment of drapery 148
The effect of light and shade 149
Chapter VII
Michelangelo painting in the Sixtine Chapel
1508
1509
1510
The failure of the plan of assistance must have mor-
tified Michelangelo 152
His method of painting the nude in fresco 153
His frequent study from nature lb.
His method of painting drapery 154
He evidently employed assistants for decorative work 155
He also employed an assistant to execute parts of the
figures lb.
Michelangelo's ideas of colour 156
The picture in the Tribune Florence Gallery, illustrates
his ideas 157
Contrast beetwen his ideas of mural painting and those
of realists 158
A letter to his father about the Pope's delay of payment lb.
Iacopo lTndaco his assistant leaves him 159
The Pope visits him on his scaffold 160
Michelangelo receives a payment in September 162
The frescos exhibited in November 163
The effect of Michelangelo's art upon Raffael 164
The intrigue of Bramante 165
The usual statements as to the time occupied in painting
the frescos 167
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CONTENTS
is to ! Objected to as practically impossible 167
! He informs, his father on the 7th of September that
I 600 ducats were due him 169
I And as much more for the expenses of the scaffold lb.
' Deductions from these statements lb.
I And reasons wherefore it was not needful to erect the
I whole scaffold 170
Chapter VIII
Michelangelo at work in the Sixtine Chapel
1611
1619
Qiuliano
de' Medici
Calculations of payments made to him 171
A payment made to him in October 172
Michelangelo visits the Pope in the camp before Mi-
randola 173
Obtains order for payment lb.
He proposes to go to Bologna on the same subject. . lb.
Vasari's account of Michelangelo's concluding oper-
ations 174
Both from his account and that of Condivi, Michelan-
gelo did not retouch his frescos with distemper colour 175
This statement refuted lb.
He also used gilding 176
The question of the time required to paint the frescos
discussed 177
The statement that Michelangelo ground his colours
absurd lb.
The joints in the plaster show the number of days
occupied 178
Rapid execution but very careful work 179
It is shown that he could not paint the frescos in twenty
months ; 180
The trials and difficulties of Michelangelo 181
The fall of Prato and submission of Florence 182
Michelangelo's advice to his family 183
His opinion of the massacre at Prato 184
He gives his father a letter to Giuliano de'Medici . . . 185
And the tax on the family is remitted 186
The Pope's policy probably not understood by Michel-
angelo lb.
The frescos of the vault of Sixtine chapel finished . . 187
The entire sum due for his labour not paid lb.
4
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1613
CONTENTS xxi
Page
Julias II dies being in debt to Michelangelo 188
Notice of the manner in which the frescos have been
treated 189
The deplorable state of the frescos and the causes . . lb.
Parts have fallen down and been badly repaired . . . 190
It is hoped that Italy will awaken to a sense of duty
and make an effort to save the frescos from decay 191
Chapter IX
Election of Leo X - Michelangelo works on the monument of
Julius- Made architect of the Chubch of San Lorenzo -The
consequences to him.
1518
Lto X
Lorenzo
dt' Medici
1614
1515
Election of Leo X 194
Michelangelo enters into a new contract with the Exe-
cutors of Julius 195
Description of the new design - 196
Letter of Michelangelo to the Captain of Oortona p
complaining of Luca Signorelli in which the works
for the monument are alluded to 197
Death of Bramante d'Urbino 199
Michelangelo contracts to make a statue of Christ for
Metello Varj ., 200
Letter to Buonarroto on the ingratitude of his family 201
Considerable progress made with the monument of Julius 204
The discovery of marble in the mountains of Serravezza 205
The Pope and Cardinal dV Medici interested in this
discovery lb.
Michelangelo writes to Buonarroto, the progress of the
monument of Julius lb.
Francesco Borgherini wishes him to paint for him . . 206
He recommends Andrea Del Sarto 207
Leo X and Francis I to meet at Bologna lb.
Buonarroto describes Leo's visits to Florence and Bologna 209
The Pope returns to Florence, resolves to build a front
to San Lorenzo 210
Competition designs by various architects lb.
Michelangelo's knowledge of architecture at this time 211
Model supposed to represent Michelangelo's design
preserved in the Academy of Florence 212
Michelangelo continues his work on the monument of
Julius 218
I
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CONTENTS
Chapter X
The conduct of Pope Leo X to Michelangelo and his employment
IN THE MAEBLE QUARRIES
151$
1517
1519
Page
The work on the monument of Julius interrupted ... 215
Amount of work done at this date 216
Michelangelo goes to Carrara in October, his first
contracts .- 217
Pope Leo summons him to Borne with his design for
San Lorenzo * 218
The plan accepted, the contract with the Executors
of Julius broken 219
Michelangelo writes to his father on his unreasonable
conduct 220
He returns to Carrara, contracts with proprietors of
quarries 223
Michelangelo studies practical architecture at Carrara 224
He makes models and working drawings 225
The policy of Pope Leo encourages the excavation of
marble on Tuscan territory 227
Michelangelo made engineer prefers Carrara marble
and is reproved harshly by Cardinal de' Medici ... lb.
Yields to circumstances and works with zeal, buys a
site for a workshop at Florence 228
He proposes to make a contract to execute the front
of San Lorenzo - 229
Cardinal de'Medici is satisfied 230
Michelangelo contracts for marble for the front of San
Lorenzo 231
He expresses his sense of his position 232
He is insulted by Sansovino lb.
He prepares a model of his design for San Lorenzo . . 233
Again visits Borne and an agreement made with the Pope 234
Writes to Buonarroto and describes his troubles .... 235
Again writes to his brother as to the difficulties which
beset him 237
His letters expose the intrigues which beset him . . . 239
Popes oppress but do not defend him lb.
His exposure to danger in the quarries lb.
Jacopo Salviati writes to encourage him 240
Conduct of the ruler of Massa 241
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1613
CONTENTS xxni
Pag©
Works at intervals on the monument of Julius 241
The representatives satisfied lb.
Four statues in the Boboli probably for San Lorenzo 242
The group called Victory lb.
The recumbent statue of Adonis 243
The bust of Brutus 244
Wonderful energy of Michelangelo 245
Chapter XI
MlCHELAXGELO SET FBEE FROM THE QUABBIE8 - ReTUBNB TO FlOBBNCB
1620
Cardinal
de' Medici
governs Florence
Cardinal
of Cortona
govern* Florence
1591
1598
Adrian FT
Michelangelo freed from his charge of road-making
and quarrying 247
His own account of the transaction and the ignominy
of his treatment 248
Death of Ra&el d'Urbino 250
Offer made to Michelangelo to paint in the Stanze. . 251
The oil paintings on the wall by the pupils of Raffael,
merits and demerits of the system. . , 252
Sebastian Del Piombo writes to Michelangelo on the
subject of painting in the Stanze 253
Michelangelo refuses. His probable motives 255
Leo gives orders for building the Chapel of the Medici 256
Michelangelo wishes to visit Borne. Sebastian advises
him to do so 257
The Pope's remarks on Michelangelo, his demeanour
the cause of his estrangement from the Court of Leo 258
Letter of Cardinal de'Medici on Michelangelo's designs
for the monuments of the Medici 260
Michelangelo visits Carrara to order marble for the
monuments 261
Returns to Florence and makes the statue of Christ
for Metello Varj 263
Sends it to Rome, conduct of Urbino 264
It is completed by the sculptor Frizzi 265
The character of this work of Michelangelo 266
Death of Leo X 268
Accession of Adrian 269
Michelangelo works for the monument of Julius .... lb.
He is invited to visit Bologna to decide plans for
San Petronio lb.
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XXIV
CONTENTS
Chapter XII
The Pope wishes Michel anqelo to take obbebs - The Laurehtian Libbabt
1528
Clement VII
1624
Cardinal
of Cortona
governs Florence
1526
Page
Election of Clement VII 271
He distinguishes Michelangelo by his favour lb.
Michelangelo anticipates that art will be encouraged 272
Clement is hostile to the prosecution of the Monument
of Julius lb.
His Holiness wishes Michelangelo to take orders and
to be paid a stipend lb.
Michelangelo declines 273
He is to be employed at a fixed salary 274
Progress of the new Sacristy of San Lorenzo 275
Michelangelo's letter to Piero Gondi on the conduct
of his Clerk of works .' lb.
Pope Clement proposes to Michelangelo that he should
design the Laurentian Library 277
Michelangelo objects, but after a time prepares the
drawings 278
History of the collection which forms this famous Library 280
Michelangelo threatened with an action by the heirs
of Julius 284
It was not his fault that the monument was not completed 285
He refuses his salary, is comforted by his friend Lionardo 286
Proposals for the design of more monuments in the
Sacristy 287
Michelangelo's designs are satisfactory 288
Letter from Sebastian Del Piombo on the portrait of
Albizzi 289
Michelangelo's flattering reply 290
His letter of complaint to the Pope regarding interference
of officials and an unsatisfactory supply of marble 292
Letter of Iacopo Salviati consoling and encouraging
Michelangelo 295
The- difficulties which Michelangelo experiences in ob-
taining assistants 297
His letter as to a proposed Colossal statue 299
The erection of a Sacrarium in San Lorenzo 301
Pope Clement reminds him that Pontiffs do not live long 302
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CONTENTS
Chapter XIII
The Laurentian Library -Political events -The Republic restored -
Michelangelo fortifies Monte San Mxniato
1596
1527
The Republic
15*8
1629
Page
The correspondence regarding the Laurentian Library
resumed 303
Michelangelo's design for the doorway 304
The Medici chapel examined by Giovanni da Udine 306
The painted windows of the Laurentian Library . . . 307
The character of the architectural ornament in the
Library lb.
Criticism of the architecture of the Library 308
Remarks on the architecture of the Chapel of the
Medici 310
The action brought by the heirs of Julius continues 311
Under these circumstances the statue of Night executed 312
State of Italy and corruption of morals lb.
The pillage of Rome 314
The Republic restored in Florence. Capponi, Gonfalo-
niere lb.
The block of marble given to Michelangelo by the Si-
gnory 315
He designs a group of Sampson slaying a Philistine lb.
Violent party triumphs in Florence. Carducci, Gonfa-
loniere 316
Michelangelo is made Director of the fortifications . . lb.
A soldier's opinion of the fortifications 317
Niccol6 Capponi opposes Michelangelo's scheme of for-
tifying 321
Michelangelo inspects the defences of other places, goes
to Ferrara 322
He visits Venice and returns to Florence in September 324
He attempts to open the eyes of the government to
the treason of Baglione lb.
He again leaves Florence and explains his motives to
Battista Delia Palla 326
The statement of Busini on the subject of his departure 328
Michelangelo denounced the traitor before he departed 329
His real motives lb.
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CONTENTS
Chapter XIV
Michelangelo returns to Florence - End of the Siege -
The Medioi restored
1629
1680
Medici restored
Page
Michelangelo with other citizens declared rebels .... 332
The citizens of Florence for the most part patriotic
and courageous 333
Michelangelo's interview with the Duke of Ferrara . 334
The Signory at Florence grant a safe conduct to ena-
ble Michelangelo to return 335
Battista Delia Palla urges him to return lb.
Michelangelo sets out for Florence 337
He resumes his post on the fortifications 339
Despatch of the Venetian Ambassador describing the
admirable conduct of the Florentines 340
Desperate state of affairs and treachery of Malatesta 342
Death of Ferruccio the last hope of Florence 343
Florence yields, amnesty declared, disregarded by the
Medici 344
Michelangelo is sought for, but not found 345
Pope Clement causes a report to be spread that he is
pardoned lb.
He resumes his work > lb.
Michelangelo calmly worked in his study during the
siege. The Leda lb.
The agent of the Duke of Ferrara. Michelangelo re-
fuses the picture to him 346
History of the picture and of a duplicate of it 347
Vasari's story that Michelangelo secretly worked at
the Monument of the Medici, utterly improbable . 349
A Bolognese gentleman offers a commission for a picture 351
Michelangelo commences the statue of Apollo for Bac-
cio Valori 353
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CONTENTS
Chapteb XV
Michelangelo continues his work oh the Tombs of the Medici -
Ehtbb8 into a contract with the Duke of Urbino
1580
1581
Alexander
dt' Medici
Duke
1582
1538
Page
Michelangelo resumes his work in the Sacristy 355
Retrospect of the history of the Monuments of the Medici 356
Letter of Sebastian Del Piombo describing the Pope's
regard for Michelangelo 359
Change in the policy of the Duke of Urbino towards
Michelangelo 361
Letter of Sebastian Del Piombo on the subject 362
Another important letter of Sebastian's on the same
subject 363
The real claims of the Delia Rovere were against the
Pope 367
The health of Michelangelo gives way lb.
Letters of Battista Mini regarding his state of health lb.
He shows that the statue of Dawn was completed . . 368
Michelangelo commanded under pain of excommunica-
tion not to undertake any work except for the Mon-
uments of the Medici lb.
Michelangelo did not finish the statue of Apollo, the
real reason 370
His kindness to his assistants 371
The negotiation regarding the Monument of Julius con-
tinued 372
Sebastian .Del Piombo writes to him on the same subject 373
A new contract is entered into on 29th April 1533 . 376
Michelangelo returns to Florence lb.
Unsatisfactory nature of the new contract 378
Michelangelo engages Fra Giovanni da Montorsolo to
assist him lb.
The Btatue of the two Dukes polished by Montorsolo 379
Michelangelo's position in Florence not secure lb.
He recovers his forced loan to the Republic by the
intervention of Clement 380
Michelangelo remained the greater part of this year
in Florence 382
Meets the Pope at San Miniato al Tedesco lb.
His father dies lb.
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XXVIII
CONTENTS
Chaptbe XVI
The Monuments of the Medici - The fresco of the Last Judgment -
Michelangelo's friendship with Victoria Colonna
1684
Paul III
1685
Page
Pope Clement dies in September 385
His death put an end to the work in the Medici chapel lb.
State of the works and decorations by Giovanni da
Udine 386
The Laurentian Library left incomplete 387
Description of the two famous monuments 388
The intentions of Michelangelo have been variously
explained 389
Attempt to explain the meaning of the monuments .... 390
In October Cardinal Alexander Farnese elected Pope 395
He resolves to employ Michelangelo lb.
And corresponds with the Duke of Urbino on the subject
of the monument 3%
Michelangelo to commence the fresco of the Last Judg-
ment in the Sixtine chapel 397
Michelangelo named chief architect, sculptor and pain-
ter of the Apostolic Palace '. 398
Probably commences the Last Judgment in this year lb.
Victoria Colonna lb.
Michelangelo attracted by her high qualities 399
He apparently painted more than one picture for her 400
The letter of Victoria Colonna on his picture of the
Crucifixion lb.
The religious opinions of Victoria and of Michelangelo 401
Michelangelo's poetic inspiration 402
i The subject not followed up in this work lb.
Victoria Colonna died in February 1547 403
Chapter XVII
Michelangelo Paints the Last Judgment
1535
Paul III increased the architectural splendour of Borne 405
Will allow nothing to interfere with his employment
of Michelangelo lb.
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1586
. 1587
Cotmo I
1589
1541
CONTENTS mix
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The usual statement that Michelangelo began to paint
the fresco of the Last Judgment in 1534 cannot be
correct 406
Story told by Vasari that Sebastian JDel Piombo pre-
pared the wall to be painted in oil is improbable 408
Michelangelo at work in the Sixtine .*.... lb.
The letter of Aretino describing Dooms day 409
Michelangelo's reply 410
Brief issued by Paul III explanatory of Michelangelo's
position ." 411
Letter of the Duke of Urbino to Michelangelo 413
Model of a Saltcellar for the Duke of Urbino 414
Description of pictures of the Last Judgment by an-
cient masters 416
The liberty of the brush equalled the modern liberty
of the press ♦ 417
Common place and absurd representations of demons lb.
The grandest attempt made in art to realise the ter-
rible and the condemnation of the wicked is that
by Luca Signorelli lb.
Michelangelo's general composition of the subject . . . 418
Description of the general composition 420
Michelangelo may be accused of irreverence 428
Aretino condemns his treatment of the subject of
Dooms day, in a letter dated November 1545 .... 424
Michelangelo completed this fresco when sixty-six years
of age 425
Description of his method of procedure, cartoons . . . 426
Facili ty with which he painted, broad treatment of details 427
The colour of the picture, spite of its state may be
estimated 428
The chiaroscuro and the realism of the figures t . . . . 429
Much retouching of the fresco observable as well as
repairs 430
Lamentable state of the fresco and wanton injuries in-
flicted on it 431
Rapidity with- which Michelangelo painted 432
The difference between Michelangelo's early ideas of re-
ligious art and those observable in the Last Judgment 433
He assimilated the design of the figures with those on
the vault 434
He drew less from nature lb.
His art consequently declined 435
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CONTENTS
Chapter XVIII
Michelangelo finishes the Monument of Julius •
Begins to faint in the Pauline chapel
1541
1542
1544
Page
Sangallo completes the Pauline chapel 437
The Pope wishes it to be painted in fresco by Michel-
angelo lb.
Michelangelo desires to finish the monument of Julius lb.
Destruction of eighty-seven tombs in old St Peters
by Bramante 1 438
Conciliatory letter of the Duke of Urbino to Michelangelo lb.
The statues of Active and Contemplative life nearly
finished . . . .\ 440
Michelangelo petitions the Pope for farther modifica-
tions of the contract lb.
Final contract between the Duke of Urbino and Mi-
chelangelo 441
It appears that Michelangelo had commenced five statues 442
The statue of Moses to be finished only by Michelangelo 443
Letter to Messer Luigi Del Riccio on the quarrels be-
tween TUrbino and de* Marches who were building
the Julian monument 444
Michelangelo frequently unfortunate in his choice of
assistants 445
Letter of Michelangelo as to commencing the frescos
of the Pauline. His objections 446
His annoyance at the delay of the Dukes ratification.
It comes at last 448
Description of the monument of Julius 449
Remarks on the statue of Moses 450
Compared with ancient works of sculpture 451
Irregularities in the proportions of statues executed by
sculptors of the Renaissance 452
The statue of Moses is not finished 453
Michelangelo's patriotic message to the French Bang 454
His impatient letter to his nephew, who came to Rome
to see him when ill 455
His singular letter to Messer Del Riccio 456
Michelangelo painting in the Pauline chapel. His se-
vere report on the architecture of the Farnese palace 457
Michelangelo's modest estimate of his own works . . . 459
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1644
1546
1646
CONTENTS xxxi
Page
His belief in the necessity of persevering study .... 459
The Pope resolves to strengthen the fortifications of
the Leonine city lb.
Michelangelo appointed one of the Commissioners . . . 460
He opposes the plans of Sangallo lb.
Michelangelo again very ill 461
Report of his death in Florence lb.
He recovers lb.
Kindly letter to his nephew written before his illness 462
Chapter XIX
mlckblahgelo engineer of the f0rtifi0ati0e8 of the leonine city -
Architect of St Peters -
Of the Farnbse Palace and of the Capitol
1646
1647
Description of the fortifications and the gate at Santo
Spirito by Sangallo - 463
Tribute to the admirable design of this gate 464
Michelangelo's letter on the fortifications and offer of
personal assistance 465
Letter which he wrote to Francis the King of France 466
Michelangelo's rights to the ferry on the Po disputed 467
Death of Antonio da Sangallo and its effect on the
employment of Michelangelo and his appointment
as architect of St Peters 468
The Farnese palace. Description of the Italian palazzo 470
Compared with the medieval castle and ancient Bo-
man palace * 471
Ancient and modern painting and decoration compared 472
Michelangelo's taste in the design of architecture . . . 474
His skill as a militari engineer 476
Bramante's plan of St Peters and his destruction of
ancient monuments 478
Michelangelo describes Bramante's plan and that of
Sangallo 479
Sangallo's report on the state of the edifice 480
How did Michelangelo acquire his knowledge of geo-
metry 484
He is made architect of the new buildings of the Ca-
pitol 486
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CONTENTS
1547
Page
Description of the Capitol and of his designs 486
His ideas of ornamentation and inattention to natural
forms 488
He did not complete the buildings of the Capitol . . . 489
~ Chapter XX
mlchelaxoelo's peivate correspondence - opposition to his schemes
for St Peters
1548
1549
1550
Julius III
1651
1654
1555
Xarcellus 11
Paul IV
Michelangelo's private correspondence with his nephew 490
Character and subjects of the letters 492
Letter illustrative of his professional pride 493
On the subject of his nephew's marriage . . . . - 496
Victoria Colonna dies, Michelangelo's grief lb.
His brother Giovansimone dies, Michelangelo expresses
his sorrow 497
His views as to the purchase of a town residence . . 498
The purchase of the Casa Buonarroti 499
The marriage of Lionardo in 1553 lb.
Birth of an heir of the Buonarroti Simoni 1544 .... 500
Michelangelo finished the frescos in the Pauline chapel 502
Remarks upon this work of his old age 503
Michelangelo's letter on the comparison between sculp-
ture and painting 505
Paul III appoints a Keeper of the frescos of the Six-
tine and Pauline chapels 506
Pope Paul III dies. Michelangelo's letter as to his death 508
Succession to the Pontificate of Julius III lb.
Michelangelo sends for his papers to establish the
amount of his claims against the Papacy 509
Slanders to which Michelangelo was exposed in con-
nection with St Peters 510
Michelangelo's discussion with the Deputies before Ju-
lius III 512
Michelangelo confirmed in his office as architect of
St Peters lb.
He consults his nephew as to his Will. He mentions the
sonnets and letters of Victoria Colonna in his possession 514
Duke Cosmo wishes him to return to Florence 515
On the 23d March Pope Julius dies 516
Duke Cosmo renews his efforts to induce Michelangelo
to leave Borne lb.
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1556
MareeUuM II
Paul IV
CONTENTS xxxin
Page
He desires permission to remain 516
His reasons for not leaving. Rome 517
His brother Sigismund dies lb.
Urbino dies, his great grief for his loss 518
Chapter XXI
1555
Paul IV
1556
1557
1558
1659
Pius TV
1560
1661
Michelangelo's last works -His illness and death
Michelangelo's reasons for not leaving Borne 521
He believes himself chosen of God to finish St Peters lb.
He leaves Rome for Loreto 522
His letter explaining his reasons lb.
His letter to Duke Cosmo stating why he cannot leave
Rome 523
To Vasari on the same subject 524
Error made by the Master mason in constructing a vault 526
Michelangelo's great knowledge of practical architecture 527
He resumes his chisel but is dissatisfied lb.
Letter to Lionardo regarding the model of the cupola 528
Cardinal De Carpi writes to Duke Cosmo 529
Michelangelo causes the model of the cupola to be
constructed 530
Description of this design 531
Contrast between it and the cupola as executed .... 532
Outlay on St Peters 533
Correspondence of Queen Catherine of France with
Michelangelo 534
The horse for the equestrian statue of her husband
executed by Ricciarelli 536
Complaints of the Deputies regarding the works of
St Peters 537
Their Report 538
Michelangelo's statement and proposal to resign his office 539
His opinion of his position as architect and that of
the Deputies 540
The Church of Sta Maria degli Angeli and Carthu-
sian Convent 541
Description of it, remarks on the architecture of Dio-
cletians period 542
Monument designed by Michelangelo and executed by
Leone Leoni 543
Medals of Michelangelo by Leoni 544
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1561
1568
1564
CONTENTS
Pago
Michelangelo settles with the heirs of the Piccolomini 545
Elected Vice-President of the Academy, Florence . . lb.
Care and attention of his friends 546
Michelangelo being unusually ill sends for Daniel da
Volterra 447
Letter summoning his Nephew 449
The death in peace of Michelangelo 550
APPENDIX
1606
1564
1566
Letter of Gio. Balducci to Michelangelo on the transport
of the group of the Madonna and Child now at Bruges 553
The obsequies of Michelangelo 554
Letter of Daniel Ricciarelli da Volterra to Giorgio
Vasari on the illness and death of Michelangelo . . 556
Letter of condolence from Giorgio Vasari to Lionardo
Buonarroti 557
Giorgio Vasari to Lionardo Buonarroti with regard to
a monument of Michelangelo 559
The monument of Michelangelo in Florence 560
That erected in Rome lb.
Letter of Diomede Leoni regarding the latter lb.
Portraits in bronze of Michelangelo 561
Letters of Diomede Leoni regarding these lb.
Michele Albert! on the same subject . . . . / 562
Portrait by Antonio del Franzese lb.
Inventory of works of Art and of money left by Mi-
chelangelo in Rome lb.
Opening of the Tomb of Lorenzo de' Medici, in the
Chapel of the Medici in March 1875 lb.
Description of the monument of Gian Giacomo Me-
dici in Milan Cathedral 567
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ILLUSTEATIONS
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88
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"Be- ^
tie
tie
io I
Moi^ce. Reference will be made only to those in which
the Heraldic bearings are interesting.
Chapter I
Pbmi at the head of the chapter. The Florentine lily with the
ancient arms of the Buonarroti and the Counts of Canossa.
Mask of a Faun executed in white marble by Michelangelo in 1489
when a boy of fourteen. (National Museum Florence) .. to face
14
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ravin ILLUSTRATIONS
Page
Madokxa and Child with figures, bas-relief executed during Michelan-
gelo's residence with Lorenzo de'Medici. (Casa Buonarroti) to face 18
St John Baptist. A statue in white marble rather under life size.
There is much division of opinion regarding the originality of
this beautiful statue, but sculptors of reputation have declared
themselves in favour of its being a work of Michelangelo. In
general beauty of form and in sentiment it is superior to the
productions of contemporary sculptors, and when a cast of it was
exhibited in Florence beside other casts from statues by Mi-
chelangelo it did not fail in the comparison. It is marked by
peculiarities of chiselling observable in Michelangelo's work espe-
cially in the feet, and the short fourth toe, so common in feet by
him, is there. Other parts are less like his workmanship, but it
may have been touched by another hand. Since these pages were
written an opinion unfavourable to the authenticity of the statue
has been pronounced by the Florentine Academicians to face 25
The woodcut at the end of the chapter. The arms of Caprese.
Chapter II
The head of the statue of David contrasted with that of the statue
of St George by Donatello. That Michelangelo was influenced by
the art of Donatello is manifest. No doubt partly from his train-
ing by Bertoldo an able pupil of Donatello and partly by his
just appreciation of the great sculptor's works. The statue of
David has been removed from its site in front of the Muni-
cipal Palace. If by this, old associations are broken, on the
other hand it is saved from injury by the weather and it is
in£nitely better seen in its new tribune than where it originally
stood to face 52
Unfinished picture of the Madonna and infant Jesus with other
figures. Reproduced from a French etching. (National Gallery,
London) to face 66
Chapter IV
Frieze. Ornament of oak branches the device of the Delia Bovere.
Portion of the design by Michelangelo for the Monument of Ju-
lius II. (Florence Gallery) to face 74
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ILLUSTRATIONS
Chapter VI
Page
Fbibzs* The candelabrum held by the angel by Michelangelo on the
altar of San Domenico at Bologna. Ornament by his own hand.
The recumbent figure of Adam in the fresco of the creation, of Man.
This magnificent figure the stature of which is about ten feet,
was most probably painted in three days. The dotted lines show
the joinings in the plaster. In the text four days work are ad-
mitted to be possible. From Michelangelo's system of retouching
with distemper colour and from the great care with which the
frescos are executed it is difficult to trace the joinings. A careful
examination of the photographs by M. Braun with magnifiying
power induces the author to think that only three days were
expended on this figure. If on still closer examination of the
fresco itself it should be found that this must be extended to four,
still it will remain a marvel of rapid execution. The head occupied
one day, the body and right arm certainly not more than one,
the only doubt is whether the left arm was included or not in
this second day. If not, then as stated in the text, Michelangelo
painted this figure in four days. The outline was first pounced
on the plaster by the help of the cartoon, then it was marked
with a sharp point on the wet plaster, the markings are carefully
indicated in the illustration by finely dotted lines.
The lines hatched across show the sweeps of a brush or sponge
with which the fresco has been washed at one time and the dis-
temper colour swept away or streaked to face 140
At the end of the chapter the skull of a Ram, a favourite orna-
ment of Michelangelo.
Chapter VII
Feiezb. The oak leaves of Sixtus IV founder of the Sixtine Chapel.
Ornament at the end of the chapter of oak leaves, the badge of
the Delia Rovere.
Chapter VTH
Fkube of a young man, one of the garland bearers painted in
fresco on the cornice of the Sixtine Chapel. The dotted lines
show the joinings in the plaster which indicate each days work;
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ILLUSTRATIONS
Page
thus the Master included in one day's painting one of the spaces
entirely surrounded by dotted lines. This figure then was painted
in four days. These dotted lines also show where the artist
preferred to place the joinings in the plaster, where he thought
that they were least likely to be observed to face 178
At the end of the chapter the shield of Buonarroto Buonarroti as
Count Palatine. This shield of arms was intended to be placed
at the end of Chapter IX as it was granted to Buonarroto by
Leo X on his visit to Florence. It has been thus misplaced by
the printer.
Chapter IX
The Frieze allusive to the visit of Leo to Florence.
Statue of a captive intended for the Monument of Julius, executed
with another statue of a captive and the celebrated figure of Moses
between 1513 and 1516. This statue is one of the finest of the
great Sculptor's works. It is now preserved in the Louvre . to face 198
Geometrical elevation of the front of San Lorenzo by Michelangelo
preserved in the Casa Buonarroti. This design is much liker the
spirit of Michelangelo's work than that preserved in the Academy.
It shows two < flanks* or additions to the width of the facade
alluded to by Domenico Buoninsegni see page 234. The author
has been in the most obliging manner allowed to publish this
design as well as an outline from the relief of the Madonna and
Child in the Casa Buonarroti. A permission hitherto not granted.
In the narrative Michelangelo's dissatisfaction with the conduct of
Baccio D'Agnolo is related and the impression made is that he
failed to execute a model, but from a letter since published by the
Cavaliere Milanesi it appears that he did make one, which how-
ever was unsatisfactory. Writing to Domenico Buoninsegni on
the 20th March 1517 Michelangelo says.
cl have come to Florence to see the model which Baccio has
finished, and I find it that same one, that is to say a childish
thing. If you think that it should be sent, write. I leave to-
morrow for Carrara, I have been with La Grassa (nickname of
a mason) to make a clay model according to the design and to
send it. He tells me that he will make a good model, but I do not
know how it will be, I believe that I shall have to make one
myself. » And he did make one himself, as related in the text.
It is supposed in the narrative that at least some of the figures
in the Boboli were for this facade.
The engraving to be placed betwen 212 and 213
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ILLUSTKATIONS xli
Chaptek X
Page
Frieze. The Municipal arms of Carrara.
Statue of the Dying Adonis. By comparing this figure with that
at the feet of Victory in the design for the monument of Julius,
its real origin is suggested, see page 74. It may have been ex-
ecuted during Michelangelo's peaceful labour on the monument
of Julius at the commencement of the reign of Leo. It 4s of
Serravezza marble, see page 204, where occurs the first allusion
to this marble. The contract also was in force which contained
such figures to face 243
The wood engraving at the end of the chapter represents the Mu-
nicipal arms of Pietrasanta.
Chapter XI
The Frieze. The Municipal arms of Pisa.
At the end. The arms of Florence.
Chapter XII
The Fbieze. The shield of arms of Michelangelo Buonarroti with
the crest of the Canossa adopted by him.
Chapter XTTT
Laueentiaw Libeabt. Internal elevation of the doorway from a
drawing preserved in the Florence Gallery to face 309
Reproduction or Michelangelo's letter to Battista Delia Palla. This
interesting and important letter which is translated in the text,
was originally preserved in the Buonarroti Archives. By the sys-
tem now prevalent of the division of property amongst heirs,
which must sooner or later disperse the finest collections in Italy,
this letter was lost with many others to the archives and the
nation and was not long since repurchased at a cost of nearly
JL 400 Stg. to face 326
Ornament at the end of the chapter the badge of the Medici from
the inlaid floor of the Laurentian Library.
Chapter XIV
The Fbissb. Florence asserts her liberties. The ancient shield in-
scribed «LlBBETAS. »
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Ornament at the end of the chapter. The inscription placed by
the Florentines over the door of the Municipal Palace.
Chapter XV
Frieze. The restoration of the Medici.
Chapter XVI
The head of Giuliano de' Medici and that of the Adonis to show
the identity of the type. This plate may be compared with that
representing the heads of David and of St George, page 52. Besides
showing the entirely ideal character of the figures of the Medici
on their monuments, it may be observed that the type of head
frequently repeated by Michelangelo is one in which he was
anticipated by Donatello to face 390
Chapter XVII
Diagram. (Fig. 1). This outline shows the time occupied in paint-
ing the two figures described in the text. The dotted lines show
the joinings. The head of the Angel and of the soul including
the arms and hands and a piece of background occupied one day.
The body and legs of the soul a second day. The stature of the
soul must be seven feet. Throughout the fresco of the Last Judg-
ment, so far as it was possible to examine it closely this diagram
denotes Michelangelo's rate of painting. Nothing ean exceed the
finish of- the work. There is not a trace of the use of the
stylus. (Fig. 2). The leg of Adam showing the part broken out
(Fig. 3). Leg of an ascending figure much retouched, the retouches
have become black. From sketches by the author .... to face 432
Chapter XVIH
Fbibzb. The ornament adapted from that on friezes in the court of
the Farnese Palace.
Chapter XIX
Frieze. The shield of arms of Paul III.
At the end of the chapter the arms of Pontifical Rome.
Chapter XX
Feoske. Portrait of Michelangelo in his old age.
St Peters in progress. From a slight sketch executed with a pen
in bistre, preserved in the Florence Gallery. The sketch conveys
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ILLUSTRATIONS
no just idea of the size of the building, but it is notwithstan-
ding very interesting, it shows the simple nature of the machinery
in use, and apparently part of an older erection still stood under
the drum of the dome in progress, whilst there is at this date no
appearance of the apse, sketched by the author to face
Page
514
Chapter XXI
Frieze. The shield of arms of Michelangelo Buonarroti.
Elevation of the model made under the direction of Michelangelo
for the Cupola of St Peter's.
By an unfortunate error the scale is erroneously stated. The
print is a diminished reproduction of that executed for the work
of signor Aurelio Gotti, and the dimensions of the original scale
have been reproduced whilst not applicable to face
Section of the model made under the direction of Michelangelo for
the Cupola of St Peter's to face
At the end of the chapter in three shields grouped together, the
arms of Florence of Caprese and of Michelangelo Buonarroti.
530
533
APPENDIX
The bodies of Dukes Lorenzo and Alessandro as seen when the sar-
cophagus was opened. First March 1875, sketched by the author
564
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LIFE OF MICHELANGELO
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Chapter I
[" ichelangelo was born at Caprese on the sixth of
f March 1475. His father Ludovico son of Leo-
[ nardo Buonarroti Simoni was at the time of his
I birth Podest&or chief magistrate of the adjoin-
!BS3i ing towns of Caprese and Chiusi in the Casen-
tino, and his mother was Francesca daughter of Neri di Miniato
del Sera and Bonda Rucellai.
It was the custom of Ludovico to register family events,
and he made the following memorandum of the birth of his
second son.
< I record that on this day the 6th of March 1474 l a son was
born to me: I gave him the name of Michelagnolo and he was
born on monday morning before 4 or 5 o' clock, and he was
born when I was Podestk of Caprese, and he was born in Ca-
prese: the Godfathers were those below named. He was baptized
on the 8th day of the same month in the church of San Giovanni
of Caprese. These are the Godfathers.
1 By the Florentine computation ab incarnatione. By the present ab nativltate 1475.
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4 MICHELANGELO
Don Daniello di ser Buonaguida of Florence, Rector of San
Giovanni of Caprese;
Don Andrea di.... of Poppi Rector of the Abbey of Diariano
(Dicciano);
Giovanni di Nanni of Caprese;
Iacopo di Francesco of Casnrio (?);
Marco di Giorgio of Caprese;
Andrea di Biaggio of Caprese;
Francesco di Iacopo of the Arduino (?) of Caprese;
Ser Bartolomeo di Santi of the Lanse (?) notary. » *
Upon the termination of his period of office, 2 shortly after
the birth of this second son, Ludovico returned with his fa-
mily to Florence, and the babe was given to nurse to a wo-
man of Settignano, a village on the slope of the hills, which
rise to the north east of the city, and not far from which, sur-
rounded by vines and olives, stands the villa which then be-
longed to the Buonarroti.
The family of Michelangelo was noble but poor, and before
his birth, had fallen into obscurity; but the time came when
it was admitted, that by the brilliancy of his genius and repu-
tation he conferred lustre on noble relatives rather than receiv-
ed honour from them. It was probably with his approbation
that his pupil and biographer Condivi asserted his descent
from the Counts of Canossa, a statement now discredited. The
following letter written to Michelangelo in the year 1520 shows
the grounds of his belief. It was a reply to a letter of intro-
duction to the Count Alexander Canossa in favour of Giovanni'
of Reggio painter.
« Honoured Relative. I have been gratified by a visit in
1 The Buonarroti Archives Florence. This record was sent' to Michelangelo when in
Rome on the 16th of April 1548 by his nephew Leonardo. The copy in the Buonarroti ar-
chives was made from the memorandum book of Ludovico.
2 Six months.
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AND HIS WORKS 5
your name of Zoanne of Reggio painter, which has been very
agreeable to me: but it would have been dearer to me had I
seen you in person, and had you come to make the acquain-
tance of the members of your house: and had I known when
you arrived in Carrara, I should have been there to oblige you
to come here to know us, and to enjoy some days with us. I offer
you on my own part, as well as on that of my brother Count
Albert, in all time coming, what we have: and whenever we can
do anything for you, we shall always be prepared to do you
pleasure: and we trust that you will make use of us and our
possessions. It may gratify you to come sometimes to know
your relatives: and as nothing further occurs to me at present,
I recommend myself to your kind thoughts. Although I feel
that it is needless to do so, I recommend to you Zoanne, the
bearer of this.
« At Bianello of the Four Castles the vm day of October hdxx.
c Seeking in my ancient records, I have found one Messer
Simone of Canossa, who was Podestk of Florence, as I have
explained to the above mentioned Zoanne.
« Your good relative
« Alexander Count of Canossa. » *
Michelangelo attached much importance to this courteous and
friendly letter, which confirmed his family tradition, that through
this Simone, whose name was added to that of Buonarroti, was
established the relationship with the noble line of Canossa. At
a later period he wrote to Lionardo di Buonarroti. « In the
Book of contracts there is a letter of the Count Alexander of
Canossa, whom I found at home this day, who came to visit
me in Rome as a relative. Be careful of it. » a In perfect
1 Buonarroti Archives, Casa Buonarroti Florence.
9 Buonarroti Archives.
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6 MICHELANGELO
good faith Michelangelo believed in this relationship, and adopt-
ed, as his crest of arms, the dog rampant gnawing a bone, which
is the cognizance of the Canossa. The following is the tradi-
tion in which Michelangelo believed, which Vasari and Benedetto
Varchi have repeated, and which, although entirely fabulous
was for long credited. It was asserted that Messer Rolandino
Count of Canossa was Captain of the people of Florence in 1283,
that so greatly was he pleased with his sojourn in that city
that when advanced in life, he established himself in it perman-
ently, and his son Messer Simone was the progenitor and
gave his name to the family, made so famous by Michelan-
gelo. This tradition fell to the ground, when it was establish-
ed, that this Simone lived and sat in the Council of the Com-
mune in 1284, one year only after the Captainship of Messer
Rolandino, and that in the document which has preserved his
name, he is called the son of Buonarrota. It is needless to
repeat the genealogy, which Michelangelo Buonarroti the young-
er endeavoured to establish upon such vague traditions, but
turning to safer ground, the descent of the Buonarroti is veri-
fied by a parchment of 1222, which in the time of the second
Michelangelo existed amongst his domestic archives.
By this document Berlinghieri of San Florenzio, son of the
defunct Bernardo, together with Buonromano and Buonarrota
his sons, with the consent of Bellantedesca his spouse, and Buona-
stella di Borgognone his daughter in law, and wife of Buon-
romano, sold to Buonarrota, a house in the quarter of San Sir
mone: the instrument being prepared by Ser Rustichello di
Buoninsegna. From Berlinghieri without doubt descended the
family of Buonarroti. His family was noted for at least a cen-
tury earlier, but there do not exist documents to establish his
descent from father to son.
Berlinghieri was the son of Bernardo who died in 1228. His
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AND HIS WORKS 7
wife was the above mentioned Bellantedesca, his son was Buo-
narrota, from whom comes the family name, and the son of
Buonarrota was Simone, whose name also was preserved as a
family surname. With the Counts of Canossa there was no re-
lationship whatever. The father of Michelangelo, Ludovico di
Leonardo Buonarroti Simone, was born on the eleventh of
June 1444. He passed his life in poverty, till provided for by
the devotion and care of his immortal son. In 1473 he was
one of the twelve Buonomini; and on the thirtieth of Septem-
ber 1474 he was sent for six months, as Fodestk or chief ma-
gistrate, to Caprese, and there, as has been related and recorded
by himself, his son Michelangelo was born. 1
Ludovico placed his son, so soon as he was old enough, in
a grammar school kept by Francesco da Urbino, where he made
some progress in elementary knowledge. But he showed the
real bent of his mind by devoting all the time not spent at the
school desk to drawing, in which he delighted, and young as
he was, he sought the acquaintance of artists, and took every
opportunity of associating and conversing with them. Ludo-
vico was greatly dissatisfied, for he did not wish to have an
artist in the house, and made every effort to turn his son from
his predilection, which however he found invincible. He has
been somewhat severely judged, yet it could hardly be expect-
ed that he should discern between the irresistible promptings
of inborn genius and a child's whim, and he naturally thought
it best to bring up his sons to the profitable occupations con-
nected with the silk and woollen manufactures of Florence.
It is related both by Condivi and Vasari, that Michelange-
lo's father and uncles even had recourse to blows to turn him
from his favourite study. This violence however proved use-
1 Genealogy and history of the family of Buonarroti by the Count Louis Passerinl,
Librarian of the National Library Florence.
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8 MICHELANGELO
less, the boy's firm disposition resisted successfully, and he per-
severed, so that finally his father listening to the advice of bet-
ter judging friends, resolved to second his inclinations. In
justice to him, it may be remembered that he did what was
wisest, by placing the young Michelangelo in the workshop of
Domenico and David Ghirlandaio, 1 the best school of art then
in Florence. Ludovico, as was his wont, made a memorandum
of his sons apprenticeship. 2
« First April 1488. I, Ludovico di Leonardo di Buonarrota
place Michelagnolo my son with Domenico and Davit sons of
Tommaso Currado for the three following years, with these
agreements : that the said Michelagnolo shall remain with the
above for the said time, to learn to paint and to exercise him-
self therein, and to do what the above may desire, and that
the said Domenico and Davit are bound to pay him, during
these three years twenty -four florins as per agreement: the
first year six florins: the second year eight florins: and the
third year ten florins: together the sum of ninety- six livres. »
Below this contract there is also written, on the same paper, by
the hand of Ludovico. « Received by the above Michelagnolo,
this day sixteenth April, two golden florins, which I, Ludovico
di Leonardo his father had to his account. Livres 12,12. » s
By this contract it is apparent, that although so young, Mi-
chelangelo must have made some progress in drawing, so as to
be useful to his Masters, which is shewn by the unusual cir-
cumstance of a payment being made to him in the first year
of his apprenticeship. Before entering the school of the Ghir-
landaii, he had become intimate with Francesco Granacci, who
' Domenico and David Currado commonly called Ghirlandaio.
' Vasari, Lives of tbe most famous Painters Sculptors and Architects. Florence, Edi-
ted by Gaetano Milanesi and Carlo Pini, V. xu, p. 160.
* The salary paid to Michelangelo would amount In English money to L. 11. 10 Stg.
divided into three annual payments.
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AND HIS WORKS 9
although younger than himself, being ten years old, was a pupil
in the same school. They became such friends, a friendship
which lasted through life, that Granacci lent him drawings by
Domenico to copy.
The early age at which the study of art was frequently com-
menced in those days, is as remarkable as the excellent work
which youthful artists produced under the guidance of their
masters. It may be mentioned as an example, that Pierino del
Vaga, who painted the old Testament subjects in the Loggia
of the Vatican, known as Raffael's Bible, was only v sixteen when
he executed them in fresco from his Masters sketches. Many
instances of similar skill in very young artists might be given.
The youthful Michelangelo made good use of his opportunities,
and it is related by Vasari, that he drew upon whatever sur-
face would retain the marks of the charcoal which he employ-
ed as a pencil. The white washed walls of the court or ter-
races of his father's villa were covered with his designs. One
of these specified by Vasari and ascribed to his boyhood still
exists, on the wall at the top of a staircase, leading to the kit-
chen and upper terrace of the villa. It is called a Satyr, and
is drawn with charcoal evidently by Michelangelo, but when
his powers were matured. The head is now but a shadow of
what it has been, but still its lifelike expression is wonder-
ful, the body is only slightly marked in, and part of it is ef-
faced by the falling of the plaster, yet what remains shows a
master's touch; the right arm and hand are vigorously drawn,
the arm raised and bent at the elbow, the hand grasping what
was probably intended to represent a leather bottle from which
the Satyr was drinking, by pouring the liquid down his throat,
a method often represented in ancient works of art or decora-
tion and still common in Italy. As it is impossible that this
powerfully drawn and lifelike figure could be the work of a
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10 MICHELANGELO
boy, it may be supposed, that in one of his frequent visits to
his father's villa, his eye was caught by his youthful perfor-
mance, and pleased with its spirit, he passed over it anew with
charcoal, and this has led to its preservation. It has frequent-
ly been retouched since, not with charcoal only, but with a
brush and water colour also; but enough remains to recall the
power of Michelangelo. l As a matter of course other objects
in the villa are attributed to him, notably two chimney-pieces,
one of a later time and the other of no intrinsic merit.
A variety of anecdotes are related of the rapid progress made
by the youthful Michelangelo in the school of the Curradi. His
subsequent works, in that which they retain of the influence
of Domenico, bear testimony to his progress and observation.
They are told however, as if he acted an independent part and
not that of a pupil paid for his services. If instead of such
mere Studio gossip, some account had been preserved of the real
nature of his training, it would have been as interesting as in-
structive. In all probability he went through the usual and
useful routine of Studio -work, and laid the foundation of the
skill, which at intervals of his career he showed in painting;
that he soon excelled his fellow -students may be fully credit-
ed, and that he excited his Master's jealousy may be true,
although it is a painful episode in the life of an eminent
artist.
The frescos of the choir of Sta Maria Novella by Ghirlan-
daio were in progress during Michelangelo's first year of work
and study. He therefore witnessed all the processes of fresco-
painting, the preparation of the lime, the laying of the diffe-
rent coats of plaster, the execution and use of cartoons or work-
1 Folding shutters now protect it, and it is exhibited with reverence by .the inhabitants
of the villa. It was shown to me by the Signora Bandinelli wife of the lineal descendant
of the Sculptor Bandinelli who thought himself able to rival Michelangelo."
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AND HIS WORKS 11
ing-drawings, and the method of drawing and painting on
the freshly applied plaster. Being an acute and zealous ob-
server, probably nothing was lost upon him, and this supposi-
tion is strengthened by the fact, that he made a careful study
of the scaffold, with the artists at work on it, surrounded by
their materials. This is a remarkable example in one so young
of thoughtfulness and judicious observation, which, no doubt,
proved very useful to him, especially when at a subsequent period
he showed so much readiness and skill in designing thq scaffold-
ing for painting the vault of the Sixtine Chapel. He would
certainly be required to grind colours like other students, was
initiated no doubt in the art of enlarging and drawing cartoons
from his Master's sketches, which is usally pupil's work, and
admirable practice besides, and it may be supposed that he was
employed in painting decorative portions of the frescos, which
also was the duty and work of assistants.
Vasari relates as a proof of his genius,- that he corrected the
outline of one of his Master's sketches. This if known to Do-
menico might justly have excited his anger, but he may have
known nothing about it. Vasari treasured the drawing but
probably it was in the first place, a slight sketch lying about
amongst the waste papers of the Studio, picked up and pas-
sed over by the ready hand of the rapidly progressing pupil.
It cannot be supposed, that he would have shown the bad taste
involved in touching any important work of his Master's. It
appears from Vasari's account that in after life he showed this
drawing to Michelangelo, who was struck by it and praised it.
It is probable, that in his eager desire to make progress, the
youthful Michelangelo worked after studio hours. His first pic-
ture, the subject of which was taken from a print of Schon-
gauer representing a temptation of St Anthony, may thus be
accounted for, as Ghirlandaio could hardly have recommended
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12 MICHELANGELO
such a study, neither would he have permitted him to execute
it, whilst engaged in his service. The chief point of value in
the story is its testimony to that study and observation of na-
ture at so early a period, which was characteristic of Michel-
angelo throughout his whole career and which enabled him to
excel contemporaries. Nature was still imperfectly observed
and studied in the time of his youth. Costumed figures were
represented with a naivete and truth to nature peculiar to
the best masters of the close of the fifteenth century, but
the nude was defectively delineated, and a traditional method
still survived. Michelangelo escaped from this at a very early
period, and therefore the story of his observation of nature has
a special interest. The picture which he painted, it is said,
excited admiration as the work of one so young.
It is also recorded that he manifested so much skill in the
imitation of old drawings, that when he stained the paper and
gave them other appearances of age, they readily passed as
ancient works. Had this been all, it would have been an in-
stance of the possession of an imitative faculty, which is com-
mon enough and exists apart from genius. But Michelange-
lo's perfect and exquisite drawings with the point show that
it was much more than this, that it was the result of that
careful and conscientious study with the pen and crayon, now
too much neglected, but which the old Masters pursued with
so much diligence. It was then that Michelangelo laid the found-
ation of that extraordinary skill of hand which subsequently
enabled him to master the practice of distemper, of oil and of
frescopainting, although these branches of art were taken up
at intervals only, and were not regarded by him as forming
part of his profession, for he was unwilling to admit that he
was a painter.
At the close of the first year of Michelangelo's engagement
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AND HIS WOKKS 13
to the brothers Currado, he was admitted in 1489, on the re-
commendation of Domenico, to the new Academy of Art open-
ed by Lorenzo the Magnificent in the garden of his Villa, close
to what is now the Piazza of San Marco. Thus suddenly end-
ing his study of the art of painting, he was as suddenly trans-
ferred to the care and instruction of a Sculptor.
Lorenzo de' Medici formed a collection of works of art hither-
to unequalled. It contained specimens of sculpture and of paint-
ings, engravings, gems, enamels, in fine all that goes to make
up the wonderful sum of human invention and skill passing
under the name of fine art. He made it available for purposes
of instruction, and was the first, as he has remained the most
generous, benefactor of artists, by the use to which he applied
the treasures, which he had accumulated. He founded a school
and set over it Bertoldo, an able pupil of Donatello and a pro-
ficient in the art of casting in bronze.
Lorenzo saw with regret that the art of sculpture was
neglected for that of painting, and this feeling on his part, no
doubt influenced him in the choice of a Director for his new
Academy. He applied to Domenico Ghirlandaio to recommend
pupils, who seized the opportunity of parting with Michelan-
gelo naming him amongst other students. How it was that
he got rid of his contract with Michelangelo's father is not
related, * but that the youthful student should have so read-
ily submitted to the change shows great docility; yet in the
old biographies it is again recorded that he acted independently
of all instruction. Is this in the least probable?
It is much more likely that he consulted Bertoldo, was wise-
ly counselled, and followed the advice given. Amongst the
1 Condivl relates the story of Michelangelo's translation to the School at San Mark's,
as if he had broken his indenture and left Ghirlandaio without notice, he then makes him
carve the mask of the fann at once without preliminary study of any kind.
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14 MICHELANGELO
documents now published for the first time is a letter to his
father, written in 1509, in which he recognises his duties as an
instructor of youth, and shows what ideas he held of a pupil's
demeanour, and that he dismissed one who was disobedient
and intractable. It is reasonable to suppose that the mature
opinions of Michelangelo, based upon experience and usage,
were the same as those which guided his precocious youth. He
early sought the companionship of artists, that he might pro-
fit by their knowledge, and there is no real reason to think
that he was other than a docile pupil, or that he did not accept
and follow the advice of experience.
It seems probable that he was in the first place instructed
in modelling. He then turned instinctively to carving in mar-
ble, and said at a later period of his life that he « had imbibed
this disposition with his nurse's milk. » She was the wife of a
stone- carver, but apart from such a fancy as this, the first prac-
tice of art which Michelangelo witnessed in childhood, was
stone -carving going on all round him at Settignano, and such
early impressions are apt to be permanent.
After some elementary instruction, he made his first attempt
in marble, a copy of the mask of a faun of late Roman sculpture,
which happily remains to this day, and is preserved in the
National Museum of Florence. ! It is related that Lorenzo
observing the student earnestly occupied, was struck by the
merit of his work and remarked to him « you have made the
faun old, but have left him his teeth; have you not observed
that in old people some are usually wanting ?>>Next time that
he passed that way he again looked at the youth's work, and
found one of the teeth removed, the gap being represented with
1 It was, with others of Michelangelo's works, In the Florence Gallery, but has now
been placed with them in the new National Museum formed in what was the Bargello,
formerly the Palace of the Podesta, which deserves praise as really a fine specimen of
Florentine restoration.
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;*"• :
MASK OF FAUN
HIS FIRST WORK IN MARBLK
PLATE 2 •
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AND HIS WORKS 15
a close imitation of nature. / It is worthy of observation that
Condi vi, in relating this, notices the simplicity and docility of
the youth.
However circumstantial this anecdote may be, the mask itself
is inconsistent with it, for the mouth contains no teeth, except
two rather clumsy projecting tusks, the cavity is represented
somewhat imperfectly, but with patient labour, the tongue also
being shown between the gums. Doubtless the story has some
foundation. The young artist, on hearing the remark, may
have removed all the teeth, but the probability is that Lo-
renzo was struck by the evidence of ability shown, and de-
sirous of promoting the study of an art, which he thought
neglected, he saw in the youth before him so much promise,
that he charged himself with his fortunes.
It may be remarked that the original marble cannot have
been a good specimen of sculpture. The copy shows a very
free use of the drill, the outlines of the locks of hair being thus
marked. This use of the drill was characteristic of decaying
Roman sculpture, and it is an interesting coincidence, that the
imitations of ancient art by the sculptors of the School of Nic-
colo Fisano are distinguished by the same peculiarity springing
from the same cause.
Lorenzo de Medici sent for Ludovico Buonarroti, the father
of Michelangelo, who was dissatisfied with the idea of his son
being made a stone -carver ; but overcome by the offers and
the courtesy of the Magnificent, he placed him, himself, and
his whole family, at Lorenzo's disposal with the usual exag-
gerated expressions of Italian compliment. Thus Michelangelo
became an inmate of the palace, and the father was dismissed
with an assurance that, should he desire official employment, he
might depend upon the countenance and influence of the Medici.
Michelangelo now pursued his studies under the most favour-
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16 MICHELANGELO
able auspices, not of art only but of literature also; his gen-
ius was appreciated, and he associated with the most learned
and polished men of the time, who frequented the house and
table of the Magnificent, at which the youthful artist sat with-
out distinction of precedence and was treated as a son. There
must have been something attractive in his demeanour, and
evidence of thought in his conversation, for Agnolo Poliziano
noticed him especially, and being at the time Tutor to the sons
of Lorenzo, he evidently adopted him as his pupil also, fre-
quently conversing with him, and communicating valuable por-
tions of his erudition. To these lessons may be attributed the
young artist's frequent selection of mythological subjects for his
statues.
During the four years which he passed in the Medici School
of Art, he read with admiration the works of the Italian poets,
especially those of Dante, and his own kindred genius afterwards
found expression not only in works of art, but in poetry wor-
thy of the Master he selected and of a high place in Italian
literature.
Michelangelo's study of art, so far as can be judged by what
is related, as well as by his early works which remain, was
characterised by the dedication of part of his time to original
composition, of which two examples exist in the Buonarroti Mu-
seum, and to drawing, the frescos of Masaccio being especially
mentioned as objects of careful study. It therefore appears, that
his whole attention was concentrated on the study 'of the hu-
man form to the neglect of accessories. This is observable especi-
ally in his painting , the backgrounds of which are so inferior
to the works of his contemporaries.
One of his early efforts in composition preserved in the
Buonarroti Museum, is a relief in white marble representing a
« Battle of Hercules with Centaurs » which he undertook by
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AND HIS WORKS 17
the advice of Politian, whose eloquent description inspired him
with a vivid conception of the subject. The figures are on a
small scale, being nineteen and one quarter inches in height;
they are full of life energy and movement, and show a power
of representing the human form, which might well excite the
hopes of his friends for his future. The resemblance of the
forms to those of Greek statues of Athletes is striking; this,
and the fulness of muscular development show how completely
whilst yet so young, he had escaped from that meagreness in
representing the nude hitherto so common. The composition
of the relief shows want of experience, for it is confused, and
the relative positions of the figures are not well considered.
The leg of a combatant, who strides across the body of a fallen
centaur, is buried in it, whilst the fore legs of a galloping
centaur pass into the body of his enemy, a foreshortened figure
is badly formed and the head is too small; but the power
with which the confused mass of combatants is represented,
the variety, daring and originality manifested in the choice
and representation of action, mark the approach of a new
style. That his ideas of form were based on the study of an-
cient art, has been already noticed, but the lessons thus acquir-
ed were used with original power, even at this early period
of his career. The relief is unfinished, and the marks of the
toothed chisels which he used, arp every where visible on the
surface of the marble, and afford the clearest evidence of the
facility and sureness of hand, with which he already dealt with
his material.
About the same time he executed a small low relief of a
Madonna in profile with the child on her lap, with other figures
on a stair in the background. It was intended to be imitative of
the manner of Donatello. Vasari observes that this was achiev-
ed « with such success that it seemed an original of that Mas-
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18 MICHELANGELO
ter, but with improved grace of form. » l It is not possible to
find a criticism more remote from the truth than this. The
forms are clumsy and ungraceful, the relative relief of the parts,
which in the works of Donatello was managed with such per-
fect skill, is here misunderstood. The drapery is poorly de-
signed in confused, tormented folds, and whilst it is evidently
meant to be an imitation of the style of Donatello, it is in
every way inferior to the works of that great Master. This
is not to be wondered at, it is the work of a boy, and but
for the injudicious and unfair remarks of Vasari every allow-
ance would be made for its imperfections, whilst it is of inter-
est as marking a stage in Michelangelo's progress. ' It is plac-
ed after the « Hercules and Centaurs » but it in reality looks
like an earlier work. For instance the feet of the Madonna are
so ill formed, that they seem swollen by disease, and the hands
are too large, similar forms being much better expressed in the
other relief.
Amongst the young artists studying sculpture in the Medici
garden, was Pietro Torregiani of unquestionable merit but of
a fierce and jealous temper. It may therefore be readily imagin-
ed how he would regard the favourite of Lorenzo. According
to his own account, being irritated by sarcastic remarks made
by Michelangelo at his cost, he struck him so violent a blow
on the face as to break his nose, and disfigure him for life.
This unhappy adventure may have been the result of that
use of unmeasured language, which afterwards made Michel-
angelo so many enemies. On this occasion he met an adversary
as hasty and fiery as he was himself, and who, being the strong-
er of the two had the best of the encounter. It would have -
been well for him if he had taken the lesson to heart. Mode-
ration of language and demeanour would have been cheaply
1 Vasari, Ed. cit., V. xu, p. 164.
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MADONNA AND VJlIhli
HIS THIRD WORK IN MARBLE
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AND HIS WOKKS 19
purchased even at the price of a broken nose. As for Torre -
giani he disappeared dreading the wrath of Lorenzo. 1
In 1492 on the eighth of the month of April, the Magnifi-
cent Lorenzo died in his villa of Careggi, having a short time
before reached his forty -fourth year.
« In the extremity of pain and with every sign of religious
fervour, that life was extinguished, than which no other ever
was prayed for with more tears, nor in after times became
more celebrated. Two days before, a thunderbolt fell on the
Cupola of 9 Sta Maria del Fiore and broke one of the great
marble ribs, curving towards that side on which stands the
house of the Medici, the falling fragments piercing in several
places the vault of the temple. On the night of the same day
which was the last of Lorenzo, Pier Leoni di Spoleto, a professor
of medicine of high reputation, was found dead in a well at
*
San Gervasio, either he had in despair thrown himself in, or
he had been thrown in by others. In the city great was the
consternation and dread of the future to those, who had unwil-
lingly submitted to Lorenzo: his most attached friends fled or
disappeared: two years afterwards Pico della Mirandola and
Agnolo Poliziano, both being younger than Lorenzo also died,
as did the more aged Marsilio Ficino. » *
Michelangelo was deeply affected by the loss of his munifi-
cent friend, to whom he could not be otherwise than grate-
fully attached, who had discerned his early promise and wftely
provided for his training in a knowledge of art and who made
his path easy by placing him in favourable circumstances to
follow out his studies with every conceivable advantage. The
subject appears to have been passed over by his biographers,
but it is of interest to inquire what was the influence upon the
1 Vasari, Ed. cit., V. vn, p. 205.
■ Glno Capponi, History of the Republic of Florence.
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20 MICHELANGELO
young artist's disposition and character, of his residence in the
house of Lorenzo the Magnificent and of his intercourse with
the brilliant men whom he met there.
Morally considered, the atmosphere of that society was far
from pure. Religiously, whatever it may have been, it was
hardly christian. The subsequent life of Michelangelo shows
that it neither corrupted his morality, nor undermined his faith.
Living amongst parasites, he preserved his independence of
character, and on the death of Lorenzo, he came forth from the
Medici palace untainted; a good son, a good citizen, a lover
of freedom, so entirely unspoilt by the luxury in which he
had lived, that he was ready for the exercise of self denial and
to embrace a laborious life.
Michelangelo, then seventeen years of age, returned to his fa-
ther's house, and set up his studio, in which, faithful to his
classic associations, his first work was a statue of the demigod
Hercules sculptured from a block of marble seven feet eight
inches in height. This could not "have occupied less than a
year to complete, in all probability somewhat more. It ap-
pears to have found a purchaser in Filippo Strozzi, for it re-
mained in his residence till the time of the siege of Florence,
when it was purchased by Giovan Battista Palla from Agostino
Dini administrator of the Strozzi, and was sent to France for
king Francis the first. It is not known what has become of it.
IP Michelangelo resumed his palette, this is the period to which
may most safely be assigned the picture of the Virgin and
Child with St John and other figures now in the National Gal-
lery, London.
Piero, the eldest son of Lorenzo, on his father's death suc-
ceeded to his position in the Florentine State, which he soon
sacrificed by his vices and misconduct. It appears that he had
not forgotten his companionship with Michelangelo, which he
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AND HIS WORKS 21
showed in an odd but characteristic way by sending for him
to make a man of snow, at the time of a heavy snow storm.
This was abundantly silly, but it maybe remembered in extenua-
tion, that it was then the custom to employ artists of eminence
to design and execute decorations of the most ephemeral charac-
ter. The invitation to make the statue of snow was followed
by another to take up his old quarters in the palace, to which
Michelangelo consented, but he was not long of perceiving that he
was not understood and that Fiero considered his Spanish groom,
who could outrun a horse, the more wonderful man of the two.
During his second residence in the palace Michelangelo sculp-
tured a crucifix in wood for an excellent and appreciating
friend, the Prior of Santo Spirito. It is to be lamented that
this work, executed immediately before the commencement of
his long and laborious study of anatomy, is lost, as it would
have formed a link between his early and his later productions.
He was assisted in his course of dissection, which he now com-
menced, by the good offices of the Prior, who used his influence
to procure him subjects from the adjoining hospital, and he devot-
ed himself with such energy to this study and continued it so
long, that he injured his health, but by this means he acquir-
ed that intimate knowledge of the human form, which made
him the first draughtsman of his age, and enabled him to re-
present with accuracy every movement of which it is capable.
The day was now approaching, when Michelangelo was to
leave Florence for the first time. His natural sagacity enabled
him to perceive, that the bad government and vices of Piero
must lead to the expulsion from the city of the Medici and of
their friends and adherents, and he resolved to depart before the
outbreak of popular tumults, which must expose all conneqted
with that family to danger: nor was the element of the super-
natural wanting to strengthen his resolution. The belief in warn-
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22 MICHELANGELO
ings, portents and omens was then general, and Michelangelo
was disposed to mysticism, increased by his intercourse with
Savonarola and adoption of his opinions. The vision of Car-
diere, who saw in his sleep the figure of Lorenzo in mourning, 1
and was charged by it with a message to the misguided Piero,
the repetition of the dream, and the contempt with which it
was treated when made known to the Medici, showing that he
was neither to be warned nor saved, convinced Michelangelo,
and decided his departure.
It may be inquired why he abandoned his father and brothers,
to whom he was so much attached, but they were in no dan-
ger, whilst he evidently was so as a known associate of the Me-
dici, and his presence might have done his family more harm
than good. As it happened Ludovico his father was, in 1494, de-
prived of his office of ordinary and extraordinary accountant in
the Custom-house, which office he held at the munificent salary
of twelve livres a month. When he asked it of Lorenzo, the
Magnificent, it was bestowed with the significant remark « You
will be always poor » 2 a prophecy completely realised.
With two friends, Michelangelo took the road to Bologna,
where the three companions were arrested for a breach of the
passport regulations. From this embarrassment they were re-
lieved by the kindness of Messer Gianfrancesco Aldovrandini, a
Bolognese gentleman who invited Michelangelo to his house, an
invitation, which he accepted after dividing his funds between
his friends. During his residence of about a year in Bologna,
he sculptured at the request of the generous Aldovrandini, the
figure of an Angel for the altar of St Domenic, which stands
in front of the highly ornate sarcophagus, containing the body
of^hat Saint.
1 Condivi, Ed. cit., p. 9.
• Condivi, Ed. cit., p. 7.
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AND HIS WORKS 23
This exquisite statuette, hardly two feet high, represents an
Angel kneeling on one knee, and on the other resting a candela-
brum, which it steadies with both hands. The youthful face is
manifestly a portrait of a lovely child. Can it have been the
pet of his friend ? The expression is indescribably sweet, and
full of a gentle devotion appropriate to its position on the altar.
The hair is unsurpassably beautiful, curling and twining locks
are wrought out in the marble with a loving chisel, which did
not quit its work till nothing more could be done to give it
perfection. The drapery is somewhat heavy for an angel's gar-
ments, but the artist evidently preferred folds made by a thick
stuff, to those presented by lighter fabrics. The hands and feet
are beautiful, especially the former which are exquisitely true
to nature. The wings imitated from real wings are too true and
feathery, and suggest that the Angel never could rise from earth
by their aid. It is evident that the grand ideal wings repre-
sented by tjie old Masters, capable of a flight which would
pierce the heavens, are forgotten and the wings of a fowl substi-
tuted. * The candelabrum is a pretty piece of ornament, and
shows that Michelangelo was familiar with the usual decorative
forms.
A small statue of St Petronius, placed with others on the
cornice of the sarcophagus, and left incomplete by Niccol6 de
Bari, was also finished by Michelangelo. Below it is a relief
by Niccoli Pisano, medieval in composition, yet full of that
imitation of Roman art, derived from the study of classic reliefs
observable in the Pisan school. Over the cornice are statu-
ettes <rf Saints with drapery in perpendicular fluted folds in the
old manner. Michelangelo cared not for these nor to harmonise
1 Conventional treatment In art ought to be maintained wherever the idea represented
I* conventional; to sculpture or paint an angel's wings with a realistic imitation of the
feather and down of a birds wing is to represent « a monster of modern mythology. »
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24 MICHELANGELO
his work with them; he must show the form benqath the drapery,
which he broke up into zigzag turbulent folds. The other sta-
tues in their doll-like simplicity present no idea beyond the di-
minutive figures, which they really are, whilst the real size is
forgotten in that by Michelangelo, so suggestive is it of ani-
mated reality.
Work failing, Michelangelo became desirous of returning to
Florence, being strengthened in this, according to Condivi, by
the enmity and jealousy of Bolognese sculptors, who resented
the employment of a foreigner on the tomb of St Dpmenic; all
the more so, that the excellence of the workmanship and the
admiration with which it was regarded left no room for adverse
criticism.
He left Bologna to the great regret of Aldovrandini, who had
formed for him a warm friendship, attracted by his powers as an
artist, by his mental endowments, and delighted by the taste
with which he read the rhymes of Dante in his melodious Tus-
can, so different from the harsh Bolognese accent. Michel-
angelo also illustrated the Poet with his pencil. l These draw-
ings would have been invaluable, had they been preserved to
the present time, as would also have been his comments on Dante
which fascinated Aldovrandini as well as the reading.
At Florence peace and order had been restored, mainly by
the powerful influence of the Monk Girolamo Savonarola, after
the expulsion of the Medici and after Charles VIII, who had
been received with popular and mistaken confidence and treated
with misapplied splendour, had retired from the city, dreading
the ringing of the bells threatened by the daring and patriotic
Capponi and the uprising in wrath of the people, which would
1 A sketch book of Michelangelo, containing illustrations by his hand of the poems
of Dante, was In possession of the sculptor Antonio Montauti , who unhappily lost it at
sea on his passage to Rome. Db Batinis, Bibliograjia Dantetca. Prato, Tipografia Al-
dina, 1845, V. i, p. 801.
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1
ST JOHN BAPTIST
PROPERTY OP COUNT ROK8ELUINI GUALANDI
PISA
PLATE 5.
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AND HIS WORKS 25
follow their clangour, so that when Michelangelo returned, he
found safety and resumed the practice of his art undisturbed.
He also found a friend in a Medici yet in Florence, Lorenzo
di Pier Francesco, and he executed a statue of St John for him,
which, like so many other works of this- time, was till lately be-
lieved to be lost. But a figure of St John, existing in the Pa-
lazzo of the Count Rosselmini-Gualandi and believed to be by
Donatello, has been lately declared by Professor Salvino Salvini
a work of Michelangelo, an opinion since confirmed by several
eminent artists who have studied it.
St John is represented as a youth of about sixteen years of
age. He holds in his right hand what is supposed to be a locust
by some, a root by others, and in his left a piece of honeycomb.
He has just bitten off the head of the locust or part of the root,
and starts back with an expression of distaste. He is standing
on his left leg, whilst the right is bent forward at the knee, and
the foot raised, as if he were about to move onwards. The sud-
den backward motion throws him off his centre of gravity, and
he is for the moment in a position, which it would be impossible
to maintain without stumbling. This selection of a momentary
action is very characteristic of Michelangelo and suggestive of
this being his work. It is precisely such a statue as the artist
of the Angel at Bologna might execute, there is so much in it
recalling the grace and beauty of that production. The hair
although not so highly finished is in the same manner, the face
has a similar type of youthful beauty. The hands and feet
of this statue are eminently characteristic of Michelangelo.
The absence of that obtrusive display of anatomical knowledge,
which impairs rather than increases admiration of Michelangelo's
later works, is a pleasing feature of this, beautiful creation. This
fine statue forms a link between that of the Angel at Bologna
and the Cupid and Bacchus soon afterwards produced in Rome.
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26 MICHELANGELO
The history of the accidental discovery of this treasure is not
less curious, than that of the finding of the Cupid. The Chev-
alier Ranieri Fesciolini a Pisan gentleman, being on a visit to
Florence in 1817, frequented shops in which works of art are
sold, and in one of these observed this figure covered with dust,
partially hidden by objects of bric-a-brac. On asking the
price he was told one hundred Tuscan livres, a trifling sum
which he at once paid, and had the statue packed and taken
to his residence at Pisa. l The Palazzo with this and other
works of art has passed into the hands of the Count Rosselmini-
Ghialandi, who is now the fortunate possessor of this rare and
beautiful work. 2
His next statue was a recumbent and sleeping Cupid, repre-
sented as a child of six or seven years of age, which so closely
resembled an ancient work in style, that when seen by Lorenzo
di Pier Francesco de Medici, he suggested that it might be arti-
ficially discoloured, and that thus it might fetch a higher price;
advice more consistent with the trading instincts of a Medici,
than with honesty. Michelangelo was amused by the idea, and
coloured the statue and gave it the appearance of antiquity, but
he parted with it, without increasing its price to Messer Bal-
dassarre del Milanese, a dealer, who sold it in "Rome to the Car-
dinal San GHorgio as an ancient work of art for a sum equiva-
lent to ninety -six pounds Stg. 8 having paid about fourteen
pounds to the artist.4
The Cardinal, having subsequently reason to think, that he
had been deceived, made inquiries and learnt that the statue
was a modern work made in Florence. His vanity as a judge
1 From a history of this statue published In the Gazzetta <T Italia, an ably conducted
Florentine Journal.
' By the courteous permission of the Count Rosselmlni-Gualandi, I have been enabled
to add a careful out line of this interesting statue to the illustrations of this work.
• Two hundred ducats.
4 Thirty ducats.
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AND HIS WORKS 27
being wounded, he returned the statue to the dealer, whom he
compelled to refund the price, and he sent one of his gentlemen
to Florence to discover the artist.
It is related that, amongst others, he saw Michelangelo, who
in his presence made a pen drawing of a hand, which impressed
him deeply with a sense of the artist's powers. In the course
of conversation Michelangelo, amongst others of his works, men-
tioned the Cupid in imitation of the antique, when the agent of
the Cardinal informed him of the deceit, which had been practis-
ed and excited his indignation. l He was now invited to visit
Home, and assured of the favourable reception of his Eminence,
who would provide him with the means of following his profes-
sion and with commissions*
1 This statue passed into the possession of the Duke Valentino and was presented by
Mm together with a Venus, an ancient work of art, to Isabella Marchioness of Mantua,
who loved art for its own sake.
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Chapter II
icheuln gelo saw Rome for the first time on the
twenty-fifth of June 1496. With what eager
anticipations must he have passed under the
archway, probably of the ancient Porta del Po-
polo, and gazed on the diverging streets lead-
ing to different quarters of the city.
Whatever these anticipations may have been on that memor-
able event, of improvement in his art, of employers, of new
paths to fame, he little imagined that in after days he should
leave such monuments of his genius, that his name would be
associated with Rome for ever, as Sculptor, Painter, and Archi-
tect. As little could he foresee what were to be the trials and
persecutions, which awaited him in that city, or he might have
paused before he entered it, even if he had seen in vision the
statue of Moses, the frescos of the Sistine, or the cupola of
St Peter's.
So soon as he arrived, he presented the letter of recommen-
dation, with which he had been provided by Lorenzo di Pier
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30 MICHELANGELO
Francesco de' Medici, to His Eminence Giovanni Riario Cardi-
nal of St George, who received him very graciously, and evi-
dently attached no blame to him as sculptor of the statue of
Cupid, which had been imposed upon him as ancient by the
dealer Baldassare. The Cardinal asked him to look at his col-
lection of statues, and to give his opinion: Michelangelo has
himself recorded his impressions in the following letter to his
friend Lorenzo.
11th day of July 1496.
« Magnificent Lorenzo. This is to inform you how, that on Sa-
turday last we arrived safely, and without loss of time proceed-
ed to visit the Cardinal of San Giorgio, to whom I presented
your letter. He appeared to be glad to see me, and immediate-
ly expressed a wish that I should go to see certain figures,
which occupied me all that day, so that on that day I delivered
no other of your letters. Afterwards on Sunday the Cardinal
came to the new house and inquired for me. I went to him,
and he asked me what I thought of the things, which I had
seen, regarding these I said what I felt, and certainly I think
that there are many beautiful things. The Cardinal next asked
me if I was disposed to make something beautiful, I answered
that I could not do such fine things, but that he should see what
I could do. We have purchased a piece of marble large enough
to make a figure life-size, and on Monday I shall begin to work.
On Monday last I presented your other letters of recommendation
to Rucellai, who offered me what money I might want} also
those to Cavalcante. I then delivered the letter to Baldassare, *■
and demanded the Cupid from him, and said that I would repay
him his money, he replied very roughly, that he would rather
break it in a hundred pieces, that he had bought it and it was
1 Baldassare del Milanese, who cheated the Cardinal with the statue of Cupid.
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AND mS WORKS 31
his, and that he had letters, that he had satisfied him who sent
it, and that he never expected to have to return it and he
complained much of your having spoken ill of him. Some of
our Florentines here attempted to make up matters between us,
but without success. Now I count on the Cardinal to assist
me, so I am advised by Baldassare Balducci, and you shall
hear the results. No more by this, to you I recommend myself.
May God keep you from evil. *
« MlCHELAGNOLO IK ROME.
« To Sandro Botticelli at Florence. »
Thus addressed, for it was not yet safe to write openly to a
Medici. This letter would have possessed still greater interest,
had the writer referred more particularly to the statue, which
he intended to commence on Monday. A year elapsed before
he began the Bacchus: neither Vasari nor Condi vi informs us,
how this year was employed. Michelangelo's motives for set-
ting to work were so strong, that this silence cannot be accepted
as any proof, that he did not do so. As a means of filling up
the interval, it has been suggested that the statue of the Dying-
Adonis was executed at this time, but it is entirely unlike his
early works, both in style and manner of execution. As it is
of Serravezza marble, it cannot be much earlier than 1517,
when the Serravezza quarries were being worked for the first
time. The statue which in respect of subject, manner and exe-
cution most completely harmonizes with Michelangelo's antece-
dent and immediately subsequent works, is the « Cupid » of the
South Kensington Museum in London.
1 Twice published by Gualandi. And republished more accurately by the learned
AnnoUtors of Vasari, the Cavalieri Milanesl and Pint.
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32 MICHELANGELO
Does this beautiful statue really represent a Cupid? It is
that of a muscular youth of about nineteen years of age, a
figure of perfect early manhood, such as the genius of Michel-
angelo might assign to the youthful Apollo. His knitted brow
and stern expression of countenance, as he gazes downwards
from, the height of Olympus, is rather that of the avenger of
Latona, than the son of Venus. This suggestion as to the sub-
ject also explains the action and general character of this sta-
tue, better than the name usually assigned to it of Cupid. True,
it is devoid of the feminine softness of form assigned by Greek
sculptors to the youthful Apollo, but it is still more remote in
its features from their representations of the God of love. If
this be an Apollo as suggested, it is such a representation of
that God as Michelangelo would conceive, for his ideal was at
all times very different from that of the Greeks, and any com-
parison between his works and theirs can only make the diffe-
rence manifest, proving, that however carefully he studied an-
cient works of sculpture, they could not so control the bent of
his genius, as to transform him into an imitator. From them he
learnt that there was a higher level in art, than that attained
by his predecessors, and they roused his ambition.
In his representations of pagan divinities an element was want-
ing in Michelangelo, which in some manner must have been more
or less present to the mind of every Greek sculptor, namely that
of belief. Of the high influence exercised by forms of faith on
the productions of art, there can be no question : by them, even
artists possessed of very little skill of design have thrown into
their immature works so much feeling, that in spite of their
imperfections they fascinate not only those imbued with senti-
ment, who are deficient judges of art, and who therefore suppose
that the sentiment and the deficient form are inseparable, but
those also <5f more cultivation, who readily forgive the defects
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AND HIS WORKS * 33
for the sake of the expression, which they know may be com-
bined with perfect form.
Michelangelo's classic divinities are necessarily without the
evidence of any faith on his part, they are only beautiful human
beings, but in a very different sense from that in which the an-
cient divinities are beautiful, and it is unreasonable to compare
them with works of art produced under such different conditions,
and by minds so differently influenced. It may be regretted that,
in accordance with the mania of his age, Michelangelo, at this
period of his noble career, selected subjects from dead pagan
myths, which gave him nothing but names, which with their
associations are a veil between us and the full comprehension
and enjoyment of his works. Call this statue a young hunter,
banish the ideas inspired by the names of Apollo or Cupid, and
the veil is rent, and it is seen in all its beauty and truthfulness to
nature. If as the ideal of a God it may not be compared with
Greek art, how infinitely more precious it is on this very account,
as may be verified by comparison between it and the tame, grace-
fully imitative, pagan deities of those modern sculptors, who still
dedicate their art to the illustration of mythology or to equally
barren allegories.
Like too many of Michelangelo's creations, this statue had
disappeared. Some years ago the Professor Miliarini and the
eminent sculptor the Cavaliere Santarelli visited the gardens of
the Oricellari (in Florence) to look at some works of art, and
to give an opinion of them to Signor Giglio, who purchased on
account of the Marchese Campani. They were invited by the
man in charge to see some figures in a cellar, where they found
three by Andrea Pisano. The attention of Santarelli was at-
tracted by another in a dark corner, and after peering at it in
the uncertain light, he called to Miliarini and said « look at
that » after an earnest and startled look, he said « It is his » and
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34 ' MICHELANGELO
the sculptor replied « certainly it is his. » This was the statue,
which is now the chief ornament of the South- Kensington -Mu-
seum.
The left arm unhappily was wanting, broken off nearly across
the deltoid, the right hand was also broken and obviously ne-
ver had been finished. Signor Santarelli restored the left arm,
as it is now seen; the right hand he did not touch. l
The hair has been left unfinished by Michelangelo, an omis-
sion to be regretted, for if he had sculptured it with all the
grace and loving care of his previous works, he would have
lightened and reduced it; at present it is heavy in mass and form.
It is difficult by any language of praise to do justice to this
beautiful work of art, in which so many qualities are combined.
Living energy of expression and form with such perfect arrange-
ment and action, that in every view which can be taken of
it, it seems faultless; whilst in truth to nature, united with refi-
nement of detail and infinite skill of technical execution, it is
so admirable, that when it is remembered what was the proba-
ble period of its production, and what up to that tfine had been
effected in sculpture, our admiration of the genius of this author
must be enhanced, and we may fully sympathise with the en-
thusiasm, with which1 the works of Michelangelo were regarded
by the nobler and more discerning of his compatriots.
It 'is related that about this time, the first year of his stay in
Rome, Michelangelo made a cartoon for a picture of St Francis
receiving the stigmata, but that he shrank from painting it, and
the design was placed in the hands of a very humble artist to
be coloured, who acted also as barber to the Cardinal. The
picture thus produced between Michelangelo and the barber ar-
tist, was placed in the Church of San Pietro in Montorio, but
1 Signor Santarelli related to me the above anecdote, and informed me of his restora-
tion precisely as stated in the text.
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AND HIS WORKS 35
13 now lost. The word cartoon is apt to mislead ; the Italians
apply it as frequently to a sketch as to a la«ge working draw-
ing, thus it is probable that Michelangelo only made a sketch,
which he was at all times able to do with extraordinary rapidity.
The so called cartoon of St Francis probably did not occupy
him for one day.
To render assistance to others, especially artists, was a fea-
ture of his character, he readily made designs as on this occa-
sion, whence no doubt, the mistakes which have arisen in at-
tributing pictures to him, strongly marked by his characteristic
design, which it cannot be shown, even traditionally, that he
painted.
Whilst Michelangelo was thus occupied in Rome, his father
led a far from cheerful life in Florence, being poor and oppressed
with debts. His family consisted of Lionardo his eldest son,
who was born on the 16th of November 1473. Being of a
religious disposition, persuaded by the preaching of Savona-
rola, he became a Dominican monk. He was of infirm health,
and little is known of him. Buonarroto, the third son, was
born on the 26th of May 1477. He was a cloth merchant and
served first as an assistant in the shop of the Strozzi in Porta
Roasa, and was thereafter established on his own account by
the generosity of Michelangelo. He was in. the public service
in 1513 and again in 1525, being also one of the Priors for the
months of November and December 1515 and was in office on
the occasion of the solemn entry of Leo X into Florence that
year, and followed him to Bologna. He was made Count Pala-
tine in common with other members of the Signory, who re-
ceived the Pope, with the right of transmitting his honours to
hi« descendants. The Pope conferred various privileges on the
nobles thus created with an addition to their armorials of a chief
or, with the Medici ball, ^azure, charged with three fleur de Lys,
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36 MICHELANGELO
placed between the letters L. X. sable. This coat of arms was
distinctive of the descendants of Buonarroto now extinct. He was
a Captain of the Guelf party in 1519, Gonfaloniere of his company
in 1521 , and died of the plague on the second of July 1528.
Giovan Simone was the fourth son. He was born on the 11th of
March 1479. In his youth he studied literature, and it is said
was a facile and facetious rhymester. He travelled in various
parts of Europe, and after a severe rebuke from Michelangelo,
which will be recounted in its place, he left the paternal home
and went to Portugal intending to sail for India. In 1512 he
was in Italy, and joined his brothers in business. Wasteful
and a bad son, he caused much displeasure to Michelangelo.
He died the 9th January 1548. There are few records of the
life of Sigismund the fifth son, he was a soldier, now serving
under one partizan leader, now another, and was in the service
of the Republic in 1527. He returned to the paternal villa at
Settignano in 1540, where he passed a peasant existence, and
died on the 13th November 1555. *
The brothers of Michelangelo might have been passed without
notice, they were men without gifts, with very little capacity,
and frequently played an unsatisfactory part in the family
history, but as his brothers, with the exception of the eldest
they occasionally appear in his life. He made many sacrifices
for them, suffered much on their account, and they often repaid
his good offices with ingratitude, yet they could not wear out
his brotherly affection. To Buonarroto the best of them he was
much attached, and when absent from Florence, chiefly corre-
sponded with him.
The father's income was a small one, and he had been deprived
of his paltry salary from a public office on the expulsion of the
Medici, whilst the expenses of living in Florence had been in-
1 Extracted from the genealogy of the Buonarroti by Count Louis Passerini.
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AND mS WORKS 37
creased by the evil days which overtook the Republic, by famine,
by the influx of a. starving peasantry bringing disease in their
train, and to add to these misfortunes the plague threatened to
break out.
With the intense selfishness which characterized the family,
they desired the presence of Michelangelo that he might, as he
had done before when resident in Florence, assist to support
his thriftless relatives. The father entreated him to return, and
finally sent Buonarroto to explain personally the straits to which
they were reduced. Michelangelo wrote to his father on the
19th of August 1497 a letter fall of affection, saying to him that
Buonarroto, who had arrived in safety, had by iyord of mouth
explained everything, and in what manner he was molested by
Consiglio, the Mercer, who in no way would come to terms as
to a debt of ninety florins in gold; x he advised him to agree with
him, and to give him some ducats, and then added :
« What you consent to give him let me know and I will
send it to you, if you have not enough, although I have but
little, as I have told you, I shall strive to gather it or to
borrow, so that you may not have to apply to the pawnbroker,
as Buonarroto says. Do not wonder, if I have sometimes
expressed myself impatiently, I have at times for many reasons,
much provocation, such as may happen to those absent from
home. I undertook to make a statue for Piero de' Medici, and
I bought the marble, which however I did not commence,
because he was faithless to his promises, consequently I am
making a figure on my own account. I purchased a piece of
marble for five ducats, which proved bad, so I lost the money,
and I bought another at five ducats and this is on my own
account. Thus you may believe that I also have my expenses
and my hard work, but that which you ask of me I shall send,
* L. 43 Stg.
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38 MICHELANGELO
should I sell myself as a slave. » * This is the first of those
family letters, which show us the great artist, impoverished
and harassed by the sordid claims made upon him, but faithful
to the discharge of his duty, honouring his father, and sacrificing
himself on the family altar.
To estimate his goodness aright and the warmth of his affec-
tions, the contrast which his life presents, as his genius carried
him upwards, and the mean calls of his family without sym-
pathy for his pursuits or estimate of his ability pressed him
downwards, must be considered. If, as he says himself, he ex-
pressed himself impatiently, as well he might, his actions were
characterize^ by an amount of patient self denial, a submission
to the calls of duty equally touching and admirable.
Michelangelo's letter alludes to an intended commission by
Piero de' Medici, which he could not regret went no further. A
wanderer and conspirator, this unworthy man had come to Rome
to be near his brother the Cardinal, not with any special regard
for him, but that he might associate him with his attempts for
the recovery of Florence. He lived scandalously and amongst
his base companions, Mariano da Gennazano, General at that
time of the Agostinians, was conspicuous as the bitter hater of
Savonarola. He availed himself of the pulpit to hurl his ana-
themas against the great Dominican, whose life was such a con-
trast to his own. Michelangelo who was an adherent of Sa-
vonarola, heard him maligned as a heretic with impatience, and
wrote to his brother Buonarroto.
« I have received thy letter from which I also derived great
comfort, especially from what I hear of the acts of the saintly
Fra Jeronimo, who makes all Rome speak of him and where it
1 The Buonarroti Archives. Michelangelo to his Father 19th August 1497. Although now
twenty- two years of age, Michelangelo had not attained his majority, which would have
made him a free agent. He, like every other Florentine, wai under paternal control till
his father by his own free will granted him emancipation.
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AND HIS WORKS 39
is said that he is a pestilent heretic, therefore by all 'means let
him come to Rome to preach, where in time he also will be
worshipped.... Fra Mariano says very evil things of your pro-
phet. No more at present, for I am in haste; there are no news,
except that yesterday seven bishops of Carthage were made, l and
five were hung. March 1497. To the prudent youth Buonar-
roto of Ludovico Buonarroti in Florence. * *
Apparently Cardinal San Giorgio was a mere collector of
ancient sculpture; he was not influenced to purchase, either
the now great art'st's work, or to give any further commission,
and it was not till a year after his arrival in Rome, that he
fdund an employer in Signor Iacopo Galli, a Roman gentleman
of ability and taste, who purchased from him his statue of Cupid,
if it is to be so called, and conferred upon him another commis-
sion, which resulted in the statue of Bacchus, which has been
lately removed from the Florence Gallery to the new National
Museum in the ancient palace of the Podest&, or Bargello, as it
was called at a later period, and where it is now seen to great
advantage.
Condivi thus describes this statue. « The countenance is joy-
ous, with wanton eyes like those overcome with wine. He
holds in his right hand a cup in the attitude of one who would
drink, gazing on the wine of which he was the inventor, denoted
by the garland of vine leaves, which binds his temples. On
the left arm the skin of a panther, with his left hand he grasps
a bunch of grapes, which a merry and youthful satyr placed
near him, furtively eats. »
By some writers it has been complained that Bacchus is re-
presented under a sensual aspect as the merry God of the vint-
age, and not with the truer inspiration of Greek art.
1 < Bishops of Carthage » were criminals pilloried with paper mitres on their heads.
1 Fvom the Buonarroti Archlres.
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40 MICHELANGELO
Surely an unreasonable criticism. The statue is much better
as it is, in all its originality of conception, than if it had exhibited
a perfect counterpart of Greek sentiment. Under the name
of Bacchus, by whom the Italians still familiarly swear, is re-
presented, not long forgotten mysteries, but vintage festivity,
the excitement produced by wine, not drunkenness, but that
amount of intoxication which finds expression in merriment and
singing; more than this would not have been true to Italian
nature.
Condivi's description, true in part, is in some respects inaccu-
rate. The God stands with trembling balance on both legs, the
left straight, the right bent at the knee, the heel being raised,
and the movement expressive of uncertain equipoise. The
shoulders are thrown back, the left arm falls straight by the
side, and the hand grasps, not the grapes, but the panther skin
with a faltering action infinitely suggestive. The right hand,
exquisitely formed, raises the cup, on which the eyes are fixed,
and a daring attempt to indicate its lightness has left the arm
without support of any kind. It is to be regretted that the
sculptor did not hollow the cup to the utmost of which marble
is capable, for this not being done, its weight has broken the
arm at the wrist.
The usual tree trunk, common in sculpture to strengthen the
supporting leg is present, but is dealt with in a novel manner.
Perforated here and there, separated from the leg at intervals,
it is like a flying buttress, strengthening and sustaining, but
free of heaviness, whilst the youthful faun is poised upon it like
a finial, adding to its strength and giving it beauty. He joyously
eats his grapes, the bunch touching the statue and « furtively »
contributing to its support.
The body and limbs are exquisitely modelled and are beautiful
in form, the details of every part are conducted with careful
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AND HIS WORKS 41
realism, but with the purest taste. The hair is so finely wrought,
that portions of some of the locks are detached allowing the light
to pass between them and the head.
It is of importance to note this accuracy and high finish, for
it indicates that he worked undisturbed by jealous rivals and
comparatively free from care. His art at this time, and during
the remainder of his stay at Rome, is characterized by the
presence of gentle emotions; his « terribile » was not yet
evoked.
The Bacchus finished, Michelangelo was now to exhibit his
powers under a new aspect, to represent the deepest sorrow,
which humanity ever endured, the profound mystery of the Sa-
viour of the world, the Son of God under the power of death.
He was to embody in marble the Pietk
The world is indebted to the Cardinal of St Denis, * Ambassa-
dor from Charles VTH to the Roman Court, for this employment .
of the genius of Michelangelo.
In this hitherto unequalled and still unsurpassed group, the
sorrowing mother sits on a stone by the place where the cross
was elevated, and the dead body of Jesus lies upon her lap.
Our deepest sympathy is awakened by this representation, in
which the means are rejected hitherto adopted by artists to ex-
cite reverence and evoke pity; the dead Christ had been usually
1 Tbc contract la preserved in the Buonarroti Archives, and the following are extracts.
Die xxvi mensls August! 1498.
« Be it clear and manifest to whomsoever may read this present writing, that the
most Keverend Cardinal of San Dionisio has agreed with the Master Michelangelo Floren-
tine 8tatuary, that the said Master should make a Pieta of marble at his cost. That is
a Virgin draped, with Christ dead in her arms, of the size of life for the price of four
hundred and fifty ducats, (about L. 225 Stg.) of gold, in the space of one year. » The rate
of payment is then stated, one hundred ducats per quarter. « And I, Iacobo Gall! promise
to His most Reverend Lordship, that the said Michelangelo shall execute the said work
in a year, and that It shall be the most beautiful work of marble In Rome, and that no
Master living could do it so well. >
Thus his fast friend Iacopo Galll pledges himself and acknowledges the receipt of one
hundred and fifty ducats in advance.
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42 MICHELANGELO
sculptured, whether on the cross or prepared for burial, as
emaciated, the beauty gone fofr very trouble, the hands and
feet and side pierced with blood stained, gaping wounds, even
the flesh scourged from the bones, the hair dishevelled and
the head lacerated with thorns. The taste of Michelangelo
revolted against such methods of exciting feeling; he knew
them to be inconsistent with the dignity of his art, and rising
far above these ideas still prevalent, and found even now in
so called « ecclesiastical art » he appealed to higher intelli-
gence, to a more lofty view of the true ideal of Christian art,
which in this group he has carried out with a truthfulness of
enlightened religious feeling never before attained in such re-
presentations.
The noble figure of the Mother has been variously criticized,
but to understand its beauty, we must enter into the thoughts
of its creator. In reply to those, who said that the Mother" was
too young as compared with the age of the son, he replied:
« Know you not, that chaste women maintain their appearance
of youth much more, than those who are not so? How much
more a Virgin, whose thoughts have ever been pure; but I would
further add, that besides the maintenance of this blooming youth,
as the natural result of her perfect purity, it is also credible
that divine power assisted in thus manifesting to the world the
virginity and sinlessness of the mother. Do not therefore wonder
that I made the Holy Virgin, the Mother of God, young in com-
parison with the Son, and that I represented the Son of his
true age. »
The Pieti was completed between 1499 and 1500. A letter
written hy Michelangelo to his father states, that he could not
leave Rome, because he had not settled his affairs with the
Cardinal, and that he would not depart till he was satisfied and
remunerated for his work, but he hoped to be free in a week.
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AND HIS WORHS 43
Michelangelo's letter to his father of August 1497, alludes to
an intended commission by Piero de' Medici, who however was
faithless to his promise, and he therefore proposed to commence
a statue i>n his own account; but it is probable that this tfbrk,
if it was then begun, was interrupted by the order for the
Bacchus, and subsequently by that for the Pieti, which being
completed, he remained another year in Borne, during which
time it can hardly be doubted that he employed himself as usual.
The group of the Madonna and Child at Bruges appears to be
the work, which, in style, execution and sentiment, best fills the
gap occurring here in the history of his creations. By a just
sequence of ideas it might follow the Pietk. Portraying the
Mother and Child at a happy period of their existence, there is
yet a sadness in the beautiful countenance of the Mother, and
a deep gravity in that of the divine Child suggestive of the
shadow of the cross, as if the impression produced by his last
great work still survived in the artist's mind, and was imparted
to this new production of his chisel. What the Madonna of San
Sisto is to painting, this group is to sculpture. Whatever there
may be of devotional feeling in early christian art, or in the
conceptions of the first masters of the revival, are concentrated
in it. Besides the depth of sentiment by which it is charac-
terized, there is a beauty of form, a grace and dignity of atti-
tude, and a skilful disposition of the drapery more refined than
in any previous work; whilst there is not yet that exaggeration
either of action or of shape, so soon after to be characteristic of
Michelangelo's design. There is still a reminiscence of the
school of Donatello, in which he was trained by Bertoldo, and
in the absence of any evidence of the exact period of the pro-
duction of this admirable work of art, there is no fitter sugges-
tion, than that it is of this time, especially as it is soon after al-
luded to, as being in existence.
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44 MICHELANGELO
Buonarroto returned from Rome to Florence after a somewhat
prolonged visit to his brother in December 1500, and brought
the good news with him that Michelangelo had been able to
save some money, and had thought of assisting his brothers, by
setting up a warehouse in Florence for Buonarroto and Giovan-
simone.
Ludovico, the father, wrote to his great son, to express his con-
tentment, the following singular letter, which shows at what
cost to that son the money was saved, which so gratified the
father.
Florence, 19th December 1500.
« I see that thou hast saved something, and the love that thou
bearest to thy brothers, is a great consolation to me. With
regard to the money, which thou wouldst invest on a shop
for Buonarroto and Giansimone, I have sought and am still
seeking, not yet having found, a bargain which satisfies me.
It is true that I have some good negotiations in hand, but one
must keep one's eyes open, and take care not to be mixed up
with others. I shall take it quietly, and seek good advice and
shall inform you of everything, when the time comes.
Buonarroto tells me that you live with great economy or
rather penury: economy is a good thing, but penurious habits
are bad, and displeasing to God and to people of this world,
besides they will injure you in soul and body. Whilst you
are yet young, you may bear the inconvenience for a time, but
when the strength of youth is gone, maladies and infirmities
will declare themselves the consequences of poor living and of
penurious habits.
As has been said, economy is well, but above all, things no
penury. Live moderately and do not labour too much, and
preserve yourself from want, because of your art. If you be-
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AND HIS WORKS 45
came ill (from which God preserve you), you would be a lost
man: above all things take care of your head, keep it moderate-
ly warm and never wash yourself; have yourself rubbed down,
but no washing.
Buonarroto tells me that one of your sides is swollen, this
comes of poor living and fatigue, and from eating bad' and
windy things, or from suffering from cold or damp feet. I have
had it myself, and it yet annoys me frequently, when I eat
windy things or suffer from cold. Our Francesco had it, and
so had Gismondo. Guard yourself from such things, besides
it is dangerous for the tympanum. Beware.
I will now tell you of the medicine which I made: I remained
for some days eating only boiled bread, or chicken or egg.
I took by the mouth a little cassia, and I made a poultice of
thyme, which I put into a pan with rose oil and camomile oil,
and thus I made the poultice, and covered the front of my body,
and in a few days I got well. However take care, for it is dan-
gerous. May Christ guard you from evil. » l
He then adds a postscript.
« Buonarroto tells me that you have that youth with you,
that is Piero di Giannotto; he tells me that he is a good youth
and loves you and is faithful. I recommend him to- you, and
act towards him, as he does to you. »
He ends as usual by pressing his son to return home. This
strange letter from the garrulous father shows, what were even
at this early period the habits of life of Michelangelo. He ap-
pears to have been indifferent to personal comfort or appearance,
to have denied himself systematically, whilst he gave generously
to aid his family. His hard work is also alluded to in this let-
ter, the cause no doubt of the swelling of one side, was wielding
the mallet with the energy which was his habit.
1 The Buonarroti Archives.
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46
B4ICHELANGEL0
Michelangelo, who was winning friends and reputation in
Rome and at this time working peacefully, and it is to be
observed, completing carefully all that he undertook to do, yielded
at last to the pressing solicitations of his father and returned
to Florence.
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Chapter III
1 n 1501 Michelangelo returned to Florence, where
his early promise had been so cordially recogni-
zed by men of brilliant abilities and of the
highest cultivation, and where the groundwork
i of his knowledge of art and literature had been
laid with the advice and assistance of the best masters and most
learned men of the time; for this great and original genius
readily submitted to tuition and carefully followed the path of
study then believed to be needful to the training of an artist.
As has been related he learnt to draw under Domenico Ghir-
landaio, acquiring at least a knowledge of first principles, he
studied modelling and was taught to chisel marble under the
direction of Bertoldo, and whilst his choice of a profession was
to be a Sculptor, he diligently studied the frescos of Masaccio
and like all other artists of his time, drew inspiration from
those great works.
It is remarkable that there should be no record of his pursuit
of mathematics, scientific perspective or of architecture and or-
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48 MICHELANGELO
nament. Whatever knowledge he acquired of these branches
of science and art, it does not appear to have been in early life
when his whole attention was absorbed by the study of the hu-
man form, more exclusively it appears, than was usual with
artists of the time. This undoubtedly sprang from his devotion
to sculpture.
Michelangelo brought with him to Florence a greatly augment^
ed reputation as the sculptor of the Cupid, the Bacchus and the
Pietk, and it might reasonably be supposed, that, whilst commis-
sions would flow in upon him, those who sought the aid of his skill
would approach him with respect and confidence.
In the first contract, which was made after his return to
Florence from Rome, on the part of Francesco Todeschini Pic-
colomini Cardinal Archbishop of Siena, distrust is expressed
rather than confidence. It is stipulated amongst other con-
ditions, that the statues should be better executed than was
usually the case in Rome, and that if not satisfactory, they
should be done over again. Pietro Torregiani, who had been
previously employed, had left one statue only and that in an
unfinished state, this Michelangelo was to complete and to bring
into harmony with his own. *
The price to be paid for fifteen statues, which varied from
about four feet in height to four feet six inches, was equal to
about two hundred and fifty pounds sterling, to be advanced
in certain ratios, according to the progress of the work. These
statues were intended for the decoration of the family altar of
the Piccolomini in the Cathedral of Siena.
From the nature of the contract it may be assumed, that these
1 Michelangelo bound himself to execute fifteen Statues in three years for the sum of
five hundred broad ducats, about L. 250 Stg. He was to pay all the expenses of marble
or others which might arise. He was to receive an advance of one hundred ducats , and
subsequently to be paid for each statue on completion, the sum of thirty tjhree ducats and
one third about L. 16 Stg. Gaetano Milanesi. Documents for the history of Slenese Art
V. in, p. 19.
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AND HIS WORKS 49
statues were regarded rather of a decorative character, than as
works of high art to be executed by the Master himself, for they
certainly appear to be the work of assistants. They are not
well proportioned being only seven heads in height, so that
they are squat and uninteresting, they are seen however to
great disadvantage from the darkness of the church. They re-
present St Peter, St Paul, St Pius, St Gregory and St Francis,
this last, which is the best of the series, is that which was com-
menced by Torregiani. It may have been finished by Michel-
angelo himself.
The next commission in point of date was that of the colossal
statue of David, offered to Michelangelo by the officers of the
works of the Cathedral of Florence on the sixteenth of Au-
gust 1501.
A block of marble, eighteen feet in length, had lain for many
years in a court attached to the office of works, originally in-
tended to form part of a colossal statue to be executed by Ago-
stino d' Antonio di Duccio, and placed at his disposal in 1464.
This artist had successfully completed another colossus the
year before, but he was not equally fortunate with his second
commission, and not only failed, but made the block so unshape-
ly, that sculptors generally held, that nothing could be made of
it without the addition of other pieces of marble. It might rea-
sonably be supposed, that in offering a commission to Michel-
angelo, especially for a statue to which was to be assigned a
meaning expressive of the maintenance and defence of the
national liberties — therefore a national work — marble would
be provided, which would give the artist's genius free scope. It
was not so. A deformed block was offered presenting many
difficulties, by which however Michelangelo was not discouraged.
He made several models, two of which still exist in the Buonar-
roti Museum at Florence, neither of them however being that
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50 MICHELANGELO
from which the statue was sculptured, but they are interesting
as showing, that the misshapen block admitted of more, than one
translation.
Michelangfclo undertook to complete the colossal statue of
David in two years, commencing from September 1501 and ,
accepted as payment a sum equivalent to two pounds sixteen
shillings a month. * As it was necessary to build a work -shop
expressly, a convenient spot was selected near the Cathedral and
a temporary erection, partly of stone partly of wood, was soon
prepared, within which Michelangelo commenced the Colossus.
Not as a modern sculptor would, with a full sized model, an
ingenious apparatus to transfer its proportions to the marble,
and skilful carvers to block it out and to carry it on till within
a few touches of the chisel of completion, but alone in presence
of the huge and awkward block, with chisels fashioned and tem-
pered by himself. 8 How he worked, even when age had over-
taken him, is admirably described by Vigenero, who knew him
and had seen him at work/
« I have seen Michelangelo, although sixty years of age, and
not one of the most robust of men, smite down more scales from
a very hard block of marble in a quarter of an hour, than three
young marble cutters would in three or four times that span,
which must seem incredible to those, who have not seen it done!
He flung himself upon the marble with such impetuosity and
fervour, as to induce me to believe, that he would break the
work into fragments. With a single blow he brought down
scales of marble of three or four fingers breadth and with such
precision to the line marked on the marble, that if he had
broken away a very little more, he risked the ruin of his work. »
In January 1504 the statue, which Michelangelo commenced
1 Six Florins in gold.
' Some Sculptors in Italy to this day sharpen and temper their own chisels. Proba-
bly because workmen are careless.
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AND HIS WORKS 51
in September 1501, was finished. Such were the difficulties of
his task, so unfit had the block been for free action on the part
of the great sculptor, that the chiselling of Duccio remains on
portions of the back, having penetrated to a depth, beyond
which it was impossible to cut further without injury to the
proportions of the figure. When the David was exhibited for
the first time, it struck all those with wonder, who had seen
the block of marble in the state in which it had been left, and
it was said, c that a dead body had been raised to life. » x This
statue marks the commencement of Michelangelo's second man-
ner, and in it are seen the thoughts which agitated him, as he
sculptured the Deliverer. It is far removed from his preceding
works in its vigour and energy, and it expresses with a force,
which can only be felt in its presence, the calm deliberation ot
a being, totally fearless and deeply conscious of what depends on
the deed which he is about to do, as he gazes on his gigantic
enemy, without a doubt of the coming end of the battle. In
reply to the taunts of the Philistine he says. « I come to thee
in the name of the Lord of Hosts. » This is the moment
selected by Michelangelo, and the trust and daring of the youth,
who had slain the lion and the bear, and who now said to the
enemy of his people, « I will smite thee and take thy head
from thee » is expressed in every lineament of this noble statue.
David is represented naked, having cast aside the armour offered
him, he rests firmly on his right leg, which is magnificently
formed, the left knee is advanced and the left foot touches the
ground with an eager movement expressive of readiness for ac-
tion.. The beautiful body, full of life, strong and pliant, is slightly
bent round, with the head turned to the enemy. The massive
shoulders are thrown back, the right arm is pendent and the
right hand grasps resolutely the stone with which the adversary
1 Vasari, Ed. cit., V. kxi., p. 118.
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52 MICHELANGELO
is to be slain. The left is bent upwards so as to bring the
hand almost into contact with the shoulder. The sling is in this
hand ready to receive the stone and to be transferred to the
right. The noble head crowned with its mass of tangled locks
turns on a neck like a tower, a neck never to be bent before a
foe. The feature? are magnificent, the brows are knit, under
them the resolute eyes measure the enemy, undismayed by his
gigantic stature and brazen armour. The nostrils expand, but
the breathing is calm, and the full firmly compressed lips convey
the same impression as the other features, of deliberate inflexible
courage. This noble creation so fraught with patriotic meaning,
represents a beautiful youth of strong and active form , but the
beauty is subordinated to the expression of force ; the hands
and feet seem somewhat large, but they are the hands and feet
of the shepherd, who defended his flock from wild beasts, and his
countrymen from the giant. There is no thought of the ideal
of grace or dignity, but of heroic courage, and the forms are in
harmony with this, which is the sentiment pervading the whole
statue. In the admiration which this work of art excited, a
Committee was appointed to decide, whete it could most worthily
be placed, every one in- Florence considered specially capable
of giving a sound opinion, being included in this Committee
selected from every class of citizens. The list of names is singu-
larly interesting for it contains Andrea della Robbia sculptor ;
Benedetto Buglione; Giovanni delleCorniole; Attavante; Messer
Francesco, herald of the Signory; Francesco Monciatto, the
carpenter; Giovanni Piffero; Lorenzo della Volpaia; Buonaccorso
di Bartoluccio - nephew of Lorenzo Ghiberti, - Salvestro, jewel-
ler; Cosimo Roselli; Guasparre di Simoni, goldsmith; Lodovico,
goldsmith and master founder; Andrea il Riccio, goldsmith;
Gallieno, embroiderer; David del Ghirlandaio, mosaicist; Si-
raone del Pollaiuolo, called Cronaca; Filippino Lippi; Sandro
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r
HEAD OF 8T GEORGE
BY DONATELLO
HEAD OF DAVID
BY MICHELANGELO
PI.AT* 13.
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;V,..'
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AND HIS WOKKS 53
Botticelli ;Giuliano and Antonio Sangallo; Andrea del Monte San-
sovino; Chimenti del Tasso; Francesco Grauacci; Biagio, the
painter; Bernardo di Marco ; Pier di Cosimo; Leonardo da Vinci;
Pietro Perugino; Bernardo della Cecca; and Michelangelo, gold-
smith (father of Bandinelli) a remarkable array of men of genius
living at that time in Florence, and called together to assist the
citizens in selecting a place for a public statue by Michelangelo.
If there be any excuse for not leaving the selection to the
sculptor himself it is found in the choice of councillors. But they
differed in opinion, some wishing to place the new statue under
the arcade of the Loggia dei Lanzi, others on the terrace in
front of the palace of the Signory, and this was finally decided
upon, from deference to the opinion of Michelangelo himself.
Here it stood from the year 1504, till it was removed in 1873
and taken to the Academy of the Fine Arts in Florence, where
it is erected under cover. It may seem presumptuous to criticise
the proposals of such a Committee, as that selected in 1504 and
containing so many great names, but it appears obvious that if
the statue of David had been placed under the Loggia, it would
have injured the proportions of that beautiful building, whilst,
as may be readily judged by the statues now there, it could
only have been seen by cross and reflected lights. It is evident
that a proper effect of chiaroscuro is essential to the favourable
display of a work of sculpture ; the beauties and merits can be
brought out by this means only ; if the statue is marble and is
not placed in what artists call a good light, at even a short dis-
tance off it is seen only as a white mass, or as a dark mass if
of bronze. The good old Tuscan sculptors have scant justice
done to their productions whether in the open air or in the
Churches, and the real merits of these admirable artists, cannot
be properly appreciated, placed, as their works too frequently
are, in bad lights.
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54 MICHELANGELO
On the first of April, 1504, the Office of Works of the
Cathedral commissioned Michelangelo, assisted by others of
practical skill, l to convey the statue of David from the place
where it had been executed, to the palace of the Signory, and
the Priors issued orders to their officials to give whatever aid
was required for its safe transport. Consequently Simone del
Pollaiolo, Antonio da Sangallo, Bartolomeo, the carpenter, and
Bernardo della Cecca, deputies of the Priors volunteered their
services. According to Vasari, Giuliano and Antonio da San-
gallo or as related by Parenti, Simone del Pollaiuolo invent-
ed the frame for its support and the contrivances for its safe
removal.
« On the fourteenth of May the giant of marble was dragged
from the Office of Works at the hour of twenty-four, part of
the wall over the entrance being broken down to allow it to
pass. As it rested that evening ready for its further progress
next day, malicious people8 flung stones at it to injure it, so that
it was necessary each night to set a guard over it. It went
very slowly, being bound in an upright position so that it swung
freely. With much ingenuity and trouble it was thus in four
days conveyed to the piazza, which it reached at noon on the
eighteenth. »*
The pedestal for the statue was designed by Pollaiuolo and
Antonio Sangallo. It is not specified, why this was not left to
Michelangelo, but at this time it is evident that he was not
thought of as an architect; he could not, however untrained,
have invented anything more common place, than the production
of the united architects.
• Gaye, V. ii, p. 464.
* * It was guarded In the night time. Some young fellows assaulted the guards and
struck the statue with stones to injure it. They were recognized and imprisoned. • MS.
Florentine History by Marco Parenti. Magliabechian Library.
> The distance is about a quarter of a mile.
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AND HIS WORKS 56
The statue being placed, Michelangelo gave it its last touches,
and it was whilst so occupied, that as is asserted, the Gonfa-
loniere Soderini's famous criticism of the nose, and Michelangelo's
equally famous presence of mind occurred. The story is pro-
bably untrue, and the malevolent attempt to make Soderini the
tvjpe of a foolish critic was ungrateful and unjust. He was a
fervent and enlightened promoter of fine artt and the respected
friend of the greatest artists of the time. l
The great work of art, thus finally placed in front of the palace
of the Signory, was not the only one, which occupied the time
of Michelangelo at this period. A few days after it was erected,
his contract with Cardinal Piccolomini was confirmed on the
fifteenth of September by his heirs, and was formally ratified
upon the fifteenth of February following. By this deed it appears
that at this date five statues had been delivered, they were there-
fore carried on simultaneously with the David, which confirms
the criticism already made, that they were probably the work
of assistants. It was further stated that the sculptor had been
paid for them and that an advance of one hundred crowns had
been made in addition. An extension of time was conceded, and
it was stipulated that if in consequence of the war with Pisa,
the Florentine Republic should change the course of the Arno,
and so interrupt the usual intercourse with Carrara, additional
time should be allowed. This picked and preposterous scheme
never was carried out, and the way to Carrara was not interrupted
by this means, but Michelangelo nevertheless did not proceed
with the remaining statues. In 1537 Anton Maria Piccolomini
1 In 1527 the left arm was broken in three places and thrown to the ground by a
•tone cast from above daring a popular tumult. The three pieces were gathered up by
George Vasari and Francis del Salviati, and were carried to the house of SalvialPs father,
by whom they were subsequently given to Duke Cosmo de' Medici, who caused them to be
replaced and fixed with copper pins. The populace watching the erection of the necessary
scaffold speculated on its object, some said that it was to mend the broken arms, but
others thought that it was to wash his face. Archives of the State, Florence. CarUggio
universale de' Granduchl. 363 and 419.
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56 MICHELANGELO
heir of Pius UIf ceded his claims against Michelangelo for one
hundred crowns to Oliviero de' Panciatichi of Pistoia.
On the twelfth of August 1504 the Gonfaloniere of Florence
had special reasons for offering a new commission to Michel-
angelo. x Political motives induced the Government to propose
the gift of a statue to Marshal de Gi&, who had promoted the
interests with the French King, and this statue Michelangelo
was requested to model. It was to be* another David, but on a
smaller scale, and was to be cast in bronze. Michelangelo was
overwhelmed with commissions at this period, and although
earnestly pressed to execute this statue, he made slow progress.
In the meanwhile the Marshall fell out of Royal favour, where-
upon the Signory changed their minds, and when it was at
last completed at a subsequent period they presented it to the
Treasurer Robertet, who accepted it, but commented with
severity upon the conduct of the donors to his predecessor in
office. It was packed and despatched in 1508, and this was
quaintly notified as follows. « The David in the name of God
is packed and sent as far as the port of Signa ^ a landing plaee
on the Arno, six miles below Florence, between the mouths of
the Bisenzio and the Ombrone. Finally the statue reached
M. Robertet and was placed by him in his castle at Blois. It
afterwards passed into the hands of the king, and is now un-
fortunately lost. Michelangelo ^ only made the model for this
statue, which was probably cast by Benedetto da Rovezzano.
The energy with which Michelangelo worked is illustrated by
the fact, that, whilst occupied with the colossal David, besides
the statues for the Piccolomini, he commenced and carried a
certain length a statue of the Apostle Mathew, and two circular
reliefs of the Virgin and child. One of these very fine sketches
in marble, for so they may appropriately be called, exists in the
* Gaye.
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AND HIS WORKS 57
national museum of Florence. The head of the Virgin, which
is nearly completed, is singularly beautiful in form and ex-
pression. The other work is in the possession of the Royal
Academy of Fine Arts London. The statue of St Mathew, now
in the Royal Academy of fine arts Florence, where it can be
freely and easily seen, formed part of a commission to execute
twelve statues of Apostles to be placed, as specified in the contract
dated the twenty -fourth April 1503, « in Sta Maria del Fiore,
the Cathedral of Florence, where there are pictures by Ricci di
Lorenzo, which statues are to be finished in twelve years at the
expense of the Office of Works, whether tor the expense of marble,
for journeys to Carrara, or living for the artist and an assistant. » '
He was to be paid besides about nineteen shillings and two pence
sterling a month, twelve pounds ten shillings a year for twelve
years, and as much more as might seem good to the Office. A
house was expressly built at the cost of the same Office in the
Borgo Pinti with workshops for the execution of the statues.
The designer of this house was Cronaca, and it may be remarked
that, although specially intended for Michelangelo, he evidently
was not yet considered an architect either by himself or others,
or he surely would have designed his own Studio, even although
Cronaca was one of the official architects of the Board.
With every allowance for the difference in the valne of money,
it is not easy to understand how Michelangelo could bind himself
for twelve years for such a stipend, not only far beneath his
merits and position, but inferior to the prices which he had
received from private employers. For his group of the Piefe he
received a sum equivalent to two hundred and twenty-five pounds
Stg. and although obliged to defray both marble and rent, it is
evident that it was paid for at a much higher rate, than the
proposed statues for the Cathedral. Such prices suggest that
1 VmatI, V. xii, p. 845.
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68 . MICHELANGELO
with regard to certain commissions, Michelangelo contemplated
the employment of pupils or assistants, reserving himself for other
and more important orders.
Be this as it may, the Board of Works, Florentine like, had
driven too hard a bargain. One only of the twelve statues was
commenced and partially blocked out, after which nothing more
was done. Abandoned in the court of the Office of Works, it
lay there for centuries, till it was erected where it now is in 1834,
and an inscription to the following effect written by Giovanni
Battista Nicolini was placed under it.
« This image of StMathew, shadowed forth by Michelangelo,
lay for a long time in the court of the works of Sta Maria del
Fiore, and in 1834 was transferred to this Academy of the Fine
Arts, named after the Apostle, for the instruction of Sculptors,
and all may admire the puissant fantasy of that divine gfenius,
who first in modern times raised art from the material to the
ideal. Here the chisefl liberated from the marble the figure,
which the intellect had already created. »
The statue thus described is only partially liberated. As now
seen, covered with the dirt of ages, it suggests a petrified primeval
man, who has died in agony in some convulsion of nature. It
is of colossal size, and is the first example of that embodi-
ment of energetic momentary action, which was in future to
characterize so many of Michelangelo's works. As an example
of his mode of working it is instructive. The markings of the
broad toothed chisels, held to and pressed against the marble till
driven forward several inches by repeated blows of the mallet, are
perceptible flowing over the surface, like the hatchings with the
point with which a skilful draughtsman searches out form and
expresses it.
These marble statues, so says the contract, were to take the
place of painted figures of the apostles, an interesting remark as
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AND HIS WORKS 59
showing, that the medieval interior of the Cathedral was painted
or intended to be so. The great flat surfaces, thin mould-
ings and string courses of that now heavy and expressionless
interior, show that its architect chiefly trusted to colour for its
decoration, and that he meant it to be as universally painted
within as the upper church of St Francis at Assisi. It is quite
possible that much of this colour was actually executed, but the
later Florentines have almost entirely destroyed the works of
their ancestors by tasteless restorations, and the interior of
Santa Maria del Fiore has especially suffered from prevalent
ignorance and bad taste. There is a lull for the present, in
these proceedings, and restoration is now limited to that which
Tuscan Artists understand and execute well, the exterior mosaic
and inlay, but the interior is hopelessly injured.
Between Michelangelo's return to Florence. in 1501 and the
year 1504, his commissions amounted to thirty-seven statues and
reliefs of different sizes. This multitude of orders to be soon
followed by others of still greater importance, explains how it was
that he could only execute a portion of them, and did not even
complete those which he commenced and carried to a certain
length.
So much has been said and written of Michelangelo's solitary
work, that' it has become an article of faith, like many others
to disappear before inquiry. It will be seen that Michelangelo,
like other artists of his time, availed himself of the help of assis;
tants and that he contemplated an extensive employment of
sculptors on the works, which he undertook. He saw perfectly
that he could not execute his numerous commissions alone, and
that he did not mean to do so is proved by his actions, letters,
and other documents. It may be doubted however whether he
was able to organize tin efficient corps of assistants. He was
difficult to please, and although generous and kind, not unfre-
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60 MICHELANGELO
quently irascible. Had he been more fortunate in his dealings
with those about him, a great deal of work would have been
done, as by Raffael and his school. As it is, there are not so
many works, and not a few of them unfinished, but the greater
part of these are by his own hands.
Michelangelo found time in these busy years to paint a picture
for his friend Angelo Donk It is now in the Tribune of the
Florentine Gallery in a very bad light. l Its marvellous per-
fection of finish combined with breadth and a monumental sim-
plicity of manner, indicate an amount of technical skill, which,
were the picture by any other hand than Michelangelo, would
be only attainable by long and continued practice, of which in
his case there is no record. This picture undoubtedly is in oil,
and it may be remarked that the artist, whose method it most
closely resembles, in the painting especially of the flesh, is Lorenzo
di Credi; but otherwise it is unlike contemporary art whether in
force of colour, or style of painting. Michelangelo in this work
seems to have ignored the progress made by his great Master
and compeers, above all by Lionardo da Vinci, in improved
methods of handling and effect of colour and chiaroscuro, and to
have reverted to the primitive manner of the old Florentines, in
which, as in the miniature illuminations of the same and of earlier
times, the shadows Are painted with the pure unmixed local
colour, and the gradations from shadow to half tint and from
half tint to light are made simply by the addition of white in
increasing and graduated quantities, till frequently the lights
become entirely white. A technical consequence of this prim-
itive system is the necessary loading of the shadows with the
unmixed colour, which, being transparent, is laid on very thickly
» It was taken down and placed in a clear light for my inspection by the obliging
permission of the Cavaliere Giorgio Campani, the accomplished official Inspector of the
Museums and Galleries of Florence, who is so excellent a judge of art. I therefore ex-
amined this picture closely. That it is an oil painting, there can be no doubt whatever.
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AND HIS WORKS 61
to attain the requisite force. Such is the case in this picture
and as is usual in all executed in the same way, the surface of
the shadows is higher than that of the lights, and the loaded
paint is cracked.
Whilst thus primitive in method and scale of colour, this pic-
ture advances beyond all contemporary art in the power with
which it is drawn, with the exception of that of Lionardo da
Vinci, and Michelangelo manifests in it the remarkable, even
fantastic pose of the human figure so frequently characteristic of
his composition, which besides in this picture is rather that of
sculpture, than of the sister art of painting.
St Joseph is represented sitting on a very low seat on a terrace
bounded by a wall, the cope of which crosses the picture behind
him. He holds his knees so far apart, that he could not maintain
the position for, any time without pain, and between them, with
her back turned towards him, the Virgin sits on the ground, her
limbs drawn up together to the right, whilst she twists herself
round to receive the Holy Child, which St Joseph reverentially
holds over her right shoulder. A remarkable circumstance in this
picture is the apparent age of the Madonna, who evidently has
been painted from a plain, somewhat muscular and scraggy Tus-
can peasant woman above thirty years of age.
The idea which guided the artist in his production of the
beautiful and youthful virgin mother of the Pietk is here en-
tirely absent, for in this picture she is almost forbiddingly plain.
The infant Saviour is beautiful, as with a gentle but grave
smile he looks on his mother. The drapery in this picture,
especially of the Virgin, if compared with that of the Madonna
of Bruges, shows similarity of treatment, and is so far sculptures-
que; yet at the same time the identity in the disposition of
the folds, — which are in parts sharp and angular, in parts con-
ventional and ornamental — with draperies in pictures by Dom-
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62 MICHELANGELO
enico Ghirlandaio is very observable, especially where a portion of
a garment lies on the ground in flat mannered folds — a medieval
traditional treatment — the resemblance between the style and
ideas of the two Masters is very close. When it is remembered
that Michelangelo remained but one year in the studio of Ghir-
landaio, his appropriation of his Master's peculiarities of style in
the arrangement and representation of drapery, supports the
statements of his biographers regarding his astonishing progress
in study. That he should have so fixed them in his mind, as to
reproduce them in works of his maturity, so that they can be
recognised notwithstanding the larger and grander manner
resulting from his infinitely higher conceptions of form and his
incomparably greater power of drawing, is an interesting proof
of his careful study in youth.
The interesting picture of the Tribune presents throughout
evidence of labour and of a certain cold perfection of finish, the
results apparently of painting in oil for the first time. That
he should have executed the picture so perfectly, is a testimony
to his extraordinary powers, for to whatever branch of art he
gave his attention, he sooner or later mastered its details and
conquered its practical difficulties; but that he should have
painted it in oil without previous practice in that difficult method,
is not more wonderful, than that he should have overcome the
still greater difficulties of fresco painting in the Sixtine without
previous training.
In the middle distance of the Tribune picture is the row of
naked men standing against or sitting on a bank of precipitous
rock, which has excited so much speculation and has been ac-
counted for in so many ways. There is a circular picture by
Luca Signorelli in the Florence Gallery representing a seated
Madonna and infant Saviour, in a landscape with four finely
drawn naked figures in the middle distance, and near them a
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AND HIS WORKS 63
white horse feeding. Luca exibited his skill in representing the
human form, wherever he could create the opportunity. These
peasants in his picture represent the inhabitants of the country,
the Madonna and child being the foreground figures. The
composition is a primitive conception of genre painting and
thought.
As Michelangelo's picture exhibits the same idea, it is possi-
ble that he saw Signorelli's, and that it pleased him, for in
a similar manner he has peopled the middle' distance with
nude peasants, admirably drawn, full of life and movement, and
painted with great skill. In front of the peasants St John
Baptist is partly seen, he is coming to pay a visit, and is plain
to ugliness. The foreground and distance show an entire ignor-
ance of painting landscape, even as then understood by artists.
It is simply poor imperfect work, and shows that up to this time
he had not studied the subject.
This remarkable picture is a perfect type in composition,
colour and imperfection in the landscape details of background ,
of the frescos of the Sixtine ; it proves that his ideas of colour
in monumental art were fixed, before he began to paint in Rome,
and that whatever his motives for then employing artists to as-
sist him, it certainly could not have been « to teach him how
to colour his cartoons. » As Vasari states.
It is probable that few observers sympathize with the prin-
ciples of colour, which this picture illustrates. They are out
of place in a work of art, which is not monumental, but rather
domestic in its composition, and their conventionalism dis-
pleases even those, who are unable to account for their dissatis-
faction. If it be pointed out that these principles are those car-
ried out to their full extent in the monumental frescos of the
Sixtine, the picture acquires a new interest and cannot fail to
be studied with profound attention. It exercised a great in-
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64 MICHELANGELO
fluence upon contejnporary artists. To a certain extent it arrest-
ed progress in the direction of -rich harmonious colouring and
forcible chiaroscuro, substituting a conventional method and
neglect of the study of nature. This is exemplified in the pic-
tures of Vasari and Alessandro Allori, whose « Annunciation »
in the Florence Gallery is a manifest imitation in colour of this
picture of Michelangelo. Many other examples might be pointed
to, but happily this cold formal style of colour did not live long,
and succumbed before the vigourous naturalism of painters,
amongst whom Cigoli was & leader.
When the picture was finished and sent to Doni for whom it
was painted, true to Florentine instincts he cheapened it. He
does not seem to have understood the character of the man he
was dealing with. Michelangelo in the course of the discussion
which ensued, compelled him to pay twice the price originally
asked, or to return the picture. x
In modern times this picture, like most of those in Florence
by the great Masters, has been very ill used, having been first
overcleaned and then varnished with a dark brown thick var-
nish, coarsely and unequally applied. Remarks therefore on its
tone of colour must be considered in relation to this fact. The
picture may once have been enriched with glazings, which were
largely made use of by the old Florentine Masters, and have
been as persistently swept away by their worthless descendants
the Florentine picture cleaners, who have dared not only thus
to treat, but extensively to repaint the finest pictures in the
world with their vile handiwork.
Other pictures have been attributed to Michelangelo in Italy
and elsewhere, but on being carefully compared with his known
works, they are now set aside as by followers. One of the fee-
blest of these fictitious Michelangelos is the entombment in the
* The price asked was seventy ducats, about thirty three pounds thirteen shillings Stg.
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AND HIS WORKS 65
National Gallery London. It is indeed extraordinary that this
picture should ever have been attributed to so great a master,
there are but two figures in it which have some resemblance to
his design, but in an imperfect and unsatisfactory manner.
As the head of the old man behind the dead body, is a weak
imitation of the head of Joseph in the picture in the Tribune,
therefore this composition must have been painted at a later
period, which increases the difficulty of believing it to be by
Michelangelo. The strange and gaunt bearer with one leg, to
the left of the dead body, strongly resembles the design of Pon-
tormo; this figure is marked by the ugly features, thin form,
feeble outline observable in that artists work. He painted fre-
quently from cartoons by Michelangelo, without taste or inspi-
ration, thus the dead Christ is after a fine drawing of somewhat
unequal merit by Michelangelo. The expression of death, ad-
mirably rendered in the drawing, is quite absent in the picture.
The Christ has evidently been painted from a living model, for
the body seems inflated by breath. *
The triangle formed by the legs of the dead body and the
solitary leg of the left hand bearer, may be instanced as a case
of bad composition, impossible in a work of Michelangelo, but
quite characteristic of Pontormo, as are the unfinished figures of
women with meagre ill drawn arms on either side of the pic-
1 The figure, of the dead Christ in the drawing is that of a dead man held or propped
up, dead only a few hours before the rigor mortis has set In. Hence the muscles are
not rigid, and the dead body falls into a position regulated by gravity. The arms are
pendent and drawn down, the clavicles and the anatomical details of the neck are indicated
by the hand of a Master. The pectoral is affected by the pendent position of the arms. The
drawing of the lower part of the torso is very fine, showing that the subject died fasting,
in physical suffering, and that the last act was inspiration. The fore arms are indifferently
drawn. The right hand is not that of a dead person, the lower extremities from the
knee downwards are very poor. Remark* by Dr Fleiehman, Florence. It seems probable
that the body is by Michelangelo, the other parts added by some one else. The figure
in the picture is wholly inferior. And the torso is not that of a dead person, it is swollen,
In fact misses altogether the expression so admirably rendered in the drawing by a
master hand. The author of the picture has departed from the drawing, just as a weak
draughtsman would, in form and expression.
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66 MICHELANGELO
tare; these especially are so defective in design and style that
they cannot be attributed to Michelangelo with any feeling of
respect for his memory.
The admirable unfinished picture of a Madonna and Child,
with St John and other figures in the same gallery, is the most
interesting, as it is the best of the unrecorded works now as-
cribed to Michelangelo. As, notwithstanding the minuteness
with which his pictures are described by his biographers, there
is no mention of this one, it must depend upon internal evi-
dence for its authenticity; on its composition, drawing, types
of faces, and treatment of drapery.
Imperfect ideas of perspective are observable, the figures are
intended to be on different planes but the relative positions of
the feet indicate this in a confused way, this however does not
weaken its claim to be considered an early picture by Michel-
angelo. The faces are from purely Tuscan models, the artists
ideal is not yet formed and there is a close and pleasing adhe-
rence to the nature which he saw daily. ^The drapery although
in somewhat tormented folds is characterized by a vigour and
grandeur of style very suggestive of the handling and ideas
of Michelangelo. The picture is full of noble promise.
The departure which is apparent in this picture, from the
usual principles of composition common at the time in similar
subjects and its sculpturesque character, are in favour of its
pretensions. Although quite unlike Tuscan painting of the time,
it is like Tuscan sculpture. In the two children, and in the
two young men to the left of the Virgin there is so strong a
reminiscence of Donatello and Luca Delia Robbia, although less
of the latter than the former, that we are reminded of the fact
that Michelangelo was a pupil of Bertoldo, and a follower of
Donatello, and it is reasonable to infer that this picture was
painted, whilst he was under this influence. The drapery, as
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MADONNA AND CHILU
WITH 81 JOHN AMP OTHER F10U11K8
EARLV PICTITRK
PLATff 4 -
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AND HIS WORKS 67
well as general composition, are in harmony with this criti-
cism, the imperfections are such as would be present in the
picture of a young sculptor, especially the absence of a recogni-
tion of pictorial planes. The convolutions of the drapery on
the back of the child Christ represent a peculiarity of Michel-
angelo's drawing of drapery at all times, although exaggerated
in this early picture. It does not seem likely that it could
have been painted when he lived with Lorenzo the Magnificent,
for if so, it could not have escaped record, but it may have
been so when he returned to his father's house, the history of
which period is rather bare of detail.
It recalls the bas-relief of his boyhood now in the Casa Buonar-
roti, in its introduction of accessory figures not easily understood,
and in the style of drapery, but it is much better than that
juvenile work.
The hair of the different figures especially merits attention;
and whilst much less perfect, than that of the figures of the
Sixtine, and with less sense of chiaroscuro, it is still very similar
in treatment.
Generally speaking this picture is inferior to the beautiful
angel on the altar of St Domenic at Bologna, which exhibits
maturer powers, therefore, if by Michelangelo, which seems so
probable, it has been .painted before he was twenty years of age.
Oondivi mentions a Madonna cast in bronze as being of the
busy period included in this chapter, and Vasari misrepresenting
Condivi's statement describes 'it as a circular bas-relief; both
biographers assert that this work was purchased by Flemish
merchants called Moscheroni, who conveyed it to Flanders. If
any Madonna was at this time executed in bronze, it has been
lost, or Condivi must have forgotten that the fine group pur-
chased by the Flemish merchants and now at Bruges is of
marble.
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68 MICHELANGELO
After the purchase it was forwarded by Francesco del Pugliesi
from Florence to Bruges by way of Via Reggio in August or
September 1506, according to instructions to that effect given
by Giovanni Balducci of Borne on the part of the heirs of John
and Alexander Moscheroni.
In October 1504, that eventful year in the career of Michel-
angelo, he received from the Municipality of Florence a com-
mission to execute a national picture on one of the walls of the
great Municipal Hall, in which Lionardo da Vinci had- previously
been employed. This commission bestowed and accepted with
unhesitating confidence, proves that he was not deterred by the
fame and skill of the great painter, with whom he was thus
brought into direct comparison.
The Gonfaloniere Pietro Soderini is alluded to by Condivi as
Michelangelo's attached friend, and he was also the intimate of
Lionardo da Vinci. Thus he was associated with the two most
renowned artists of his time, and he lost no opportunity, wherever
his influence extended, of giving them employment in a manner,
as honourable to them as to himself.
The idea that the Hall in which the Municipal Council held
its sittings should be adorned with mural paintings of patriotic
subjects by Da Vinci and Michelangelo , was -due to Pietro So-
derini, and he gave the first commission for one of these to the
former, in the beginning of February 1504, who at once com-
menced the drawing and composition of the necessary cartoon.
He selected for his subject the battle of Anghiari won by the
Florentines in 1440 over Niccolo Piccinino, Captain under Duke
Filippo Maria Visconti, thus saving Florence from falling under
the power of her implacable enemy.
This was Leonardo's second opportunity of executing a mural
painting of importance. The first was the famous representation
of the « Last Supper » painted in the refectory of the Domin-
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AND HIS WORKS 69
ican Convent close to Sta Maria delle Grazie at Milan, be-
tween 1494 and 1497. Incomparably the finest picture of the
fifteenth century, now unhappily but a wrtfck of what it once was.
The Cartoon for his * Florentine work was completed in
April 1505, thus occupying about fourteen months. It was re-
garded with wonder and admiration, and Lionardo losing no
time, so soon as it was finished began the picture on the wall.
It appears that Lionardo either did not understand or did not
like fresco painting, for he executed his grand work at Milan
in oil colours, and he made up tus mind at Florence to restore
the method of the ancients — as described by Pliny — if we may
form a judgmetft of the process by the descriptions given of his
experiments. He first tried his proposed method upon a small
scale, and having applied heat to the picture was satisfied with
the results. This application of heat clearly indicates that he
aimed at the revival of encaustic painting. Encouraged by the
success of his first attempt, he coloured the battle of Anghiari
from his cartoon upon the wall assigned to him, and finished it
in less than five months.
The comparative rapidity with which the picture was painted
js in entire accordance with the time usually occupied by the
great Masters in the execution on the wall of their most impor-
tant works. They expended much more upon the preparation
of the sketches, the studies from nature, and in maturing their
compositions- on the Cartoons, than x on the 'final work,- and
usually finished the painting with a celerity which was mar-
vellous, especially when compared with the slow procedure of
modern days.
Although there is no exact record of Lionardo's method of
painting, it is evident that he used wax with a solvent, and no
doubt a gum to harden the mixture, for when he had finished
the painting, he applied heat by lighting fires upon the floor.
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70 MICHELANGELO
Here was the defective part of his plan. A small picture had
been easily heated equally, whilst the lower parts only of the
large mural picture were affected by the fire. That the heat
might also reach the upper portions, fuM was heaped on, and the
result was that the wax melted in the lower extremity making
the colours run to the artist's deep mortification. x
The noble mural picture thus elaborated with so much care
and devotion of time, from a defect in the process adopted mani-
fested even before it .was publicly exhibited, rapidly decayed,
and within fifty years, notwithstanding every effort for its
preservation, perished. Or possibly Vasari, who did not love
Lionardo, might have been able to account for the final dis-
appearance of this work, replaced by his cold and pedantic fres-
cos. Vasari spared not the works of his predecessors. He de-
scribes Bramante as a destroyer, but he was himself equally so.
The copies or other records which remain of the great work
of Lionardo, possess a certain interest as preserving some idea
of his general design, but they are obviously deficient in that
taste and refinement combined with energy and life, which must
have been characteristic of any great design by mim.
For instance, that by Rubens has a Flemish clumsiness and.
vulgarity about it, which never could exist in a work by the
great Italian.
Michelangelo commenced his rival cartoon in October 1504 2
and carried it on apparently without interruption till Jan-
1 The old accounts of the method of painting adopted by Da Vinci are imperfect and
confused. Modern research into the nature of encaustic painting make it easier to explain
his method so far, but neither he nor later inquirers have discovered the true secret of
encaustic painting. No system known from the days of Cimabue or earlier to the present
time can rival in durability the ancient method. The paintings in Pompeii buried in
damp soil for so many centuries are found to be as brilliant, probably as when painted,
those painted in the same way in Herculaneum are found on walls, the wooden beams
of which are reduced to charcoal by fervent heat, yet the pictures have hardly suffered.
A few weeks of such damp and far less than volcanic heat would obliterate all the fres-
cos, tempera or oil pictures of the last five centuries.
* There are two slight sketches, first ideas in outline for groups of figures in this com-
position, which are preserved in the Florence Gallery.
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AND HIS WORKS 71
uary 1505; shortly after which time he was invited to go to
Rome by Pope Julius the second.
Giuliano della Rovere was elected supreme Pontiff in Octo-
ber 1503 on the death of Pius III. The pontificate of Julius II
famous in history, is equally, if not more so in the annals of art.
He loved It and distinguished artists with his favour and per-
sonal friendship. He was gifted with imagination, and his pro-
jects in art, like those of his policy, were characterised by dar-
ing and grandeur of idea. He strove « to expel the barbarians
from Italy, » and he planned the new church of St Peter, com-
missioned the painting of the vault of the Sixtine by Michel-
angelo and of the Stanze of \he Vatican by Raffael, and on his
monument sits the statue of Moses, which he ordered, and which
is incomparably the greatest work of modern sculpture.
The invitation o'f Julius to Michelangelo to visit him in*Rome
was an event of singular importance in the artist's life ; so much
so, that a vivid curiosity is aroused as to the nature of the mo-
tives, which induced him to accept it. The bald narratives
of Vasari and Condivi do not satisfy this curiosity; they evi-
dently both err as to' the date of his leaving Florence, which
Michelangelo himself had forgotten, when in 1542 he wrote « in
the first year of the election of Julius, who commissioned the
sepulchre, I remained eight months at Carrara » * Now this took
place not in 1503, when Julius was elected, but in 1505.
No explanation is given, why Michelangelo abandoned his
noble commission to paint the Hall of the Signory, leaving in-
complete the cartoon in which he manifestly intended to show
all his powers of design and to excel the great artist with whom
he had been placed in honourable competition, nor why he left
his other engagements and a city where he was so honoured
and so certain of permanent employment, and where apparently
1 See letter of Michelangelo published by S. Gampi.
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72 MICHELANGELO
he was so happy. Florence also was at the time a more active
centre of the arts than Rome; many more eminent artists lived
s in it and found employment, and the number, variety and dig-
nity of Michelangelo's commissions could hardly be excelled.
But Rome then as now, exercised a fascinating power on the
minds of artists, and Julius, who wished to surround himself
with the greatest then living, must have desired especially to
secure the services of Michelangelo, whose reputation cannot
have been otherwise than well known to him.
It is probable that he made him magnificent offers, that of a
hundred crowns to pay his expenses might be considered prince-
ly, when the usual cost of a journey from Florence to Rome
was considered.
It is possible that Michelangelo may have considered this
provision a pledge of the honours with which he was to be re-
ceived, and of the munificent employment which awaited him.
In January or February 1505 he went to Rome, leaving in
Florence many unfulfilled commissions and many regrets on the
part of his friends, amongst whom was the generous and estim-
able Piero Soderini, who had given so many proofs of his re-
gard, and now lamented his departure and the stoppage of his
great work for the Hall of the ancient Municipal Palace.
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Chapter IV
he Biographers of Michelangelo relate, that after
his arrival in Rome £t the commencement of the
year 1505 many months passed before the Pope
made up his mind, how to employ him. This
cannot be true, for in April he proceeded to
Carrara to purchase marble for the monument of Julius, who,
like the Pharaohs of old, resolved that the first great work of
art of his reign should be his Sepulchre. He must have given
very precise instructions and have expressed himself very fully
and confidentially, for there were parts of the design, which
otherwise would not have presented themselves to the artist's
mind.
Michelangelo prepared a sketch, which may, or may not be
that preserved in the collection of drawings by the old Masters
in the Florentine Gallery. This drawing, executed with a reed
pen and slightly shaded with bistre, has a special interest as an
example of his ideas at that time of architectural design. As
might be expected, the architecture is a mere frame work for
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74 MICHELANGELO
the sculpture; and it would be unreasonable to criticise the
heavy and inelegant forms, for they are evidently unstudied.
The existing monument in San Pietro in Vincoli in Rome shows
that the main features of the lower portion of the design were
preserved to the last, notwithstanding the changes which were
made in the groups of sculpture, with which it was to have been
decorated.
The statements of Condi vi and Vasari, although they differ
in various respects as to the purpose of the statues and err with
regard to the number, throw some light on their meaning. The
monument was intended to be built in two stages, and to be
isolated, that is, free all round from the walls of the Church.
The flanks were to be thirty-four feet six inches (English) in
length, and the ends were to be twenty- three feet wide. The
lower stage was to stand upon a socle with base and upper
mouldings continued on all sides, and this socle was to project
at regular intervals into pedestals. Above these were to rise
Terminal figures, to support the cornice, which- was to break
into projections and recesses at the same intervals as the pedestals.
Betwixt the Terminal figures, which were to be four in num-
ber at each end, there were to be two niches, one between each
pair, and in the central space a large relief in bronz£.
Upon the platform a shrine was to bfe erected to contain the
Sarcophagus of the Pope. The sketch represents the upper part
of the monument too imperfectly to suggest any description of
its real nature, but it shows clearly the proposed arrangement
of the sculpture. In front of the Terminal figures were to stand
statues of captives, which, according to Condivi, were to represent
the liberal arte « as Painting, Sculpture and Architecture, each
with its attributes so as to be easily recognized and symbolizing
that with Pope Julius, all were the prisoners of death never
again to find any one to favour and nourish them like him. »
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SKETCH FOR THK MONUMENT
OP JULIUS II
PLATS «.
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AND HIS WORKS 75
Condivi seems to overlook the fact that there must have been
sixteen liberal arts, as there were to be sixteen pedestals in the
design. In the niches there were to be figures of Victory tread-
ing upon others representing conquered provinces. Julius must
have confided to Michelangelo his future policy, and have had
no doubt of its success, for the design was made before war
was declared, and provision was made in it for victories over
ten provinces. Upon the platform and perpendicular to the
terminal figures, pedestals with statues of Boy Angels were to be
placed and possibly a bronze railing or ballustrade between them.
Within these pedestals, but outside the shrine were to be four
sitting figures at one end, and the same number must have been
contemplated at the other end, but four only are described by
Condivi to represent the Prophet Moses, the Apostle St Paul
and Active and Contemplative life. The statue of the dead Pon-
tiff is not described, but there was to be an Angel on .each side
of the sarcophagus. One weeping for the death of the Pontiff
the other rejoicing in the addition made to the heavenly host.
Condivi says that the entire monument was to contain forty
statues ; but the drawing indicates many more, not less in fact
than seventy-eight.
There js no trace in this stupendous invention of the touching
and religious feeling with which the monuments of the dead
were previously designed and executed. The strain of tender
and christian sentiment, which guided men from the days of the
catacombs to the end of the fifteenth century was broken, and
whatever the ability with which the monument would have been
realized — and, no doubt, every portion of it would have proved
a mighty work of art — still it must he regarded as the first
example, of a long series of monstrous monuments, since erected
in every part of Europe, utterly devoid of any true christian
ideal, hiding hopes of the future under the commemoration of
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76 MICHELANGELO
a worldly past, preserving the memories of pride passion and
rivalry, so that the completion either has been opposed, as was
the case with this monument, or if erected, they were frequently
cast down by antagonists, when their turn of power came. In-
deed monuments of this class now remaining are regarded rather
with pity and distaste, than with any other feeling, hiding, as
they often do, real merit, or commemorating incapacity under
forms of foolish allegory.
The design being completed to the satisfaction of the Pope,
Michelangelo was provided with money and set out for Carrara
to purchase and convey to Rome the necessary blocks of marble;
but the plan for the monument of Julius was on such a scale,
that the church of St Peter as it then existed, offered no ap-
propriate site for it within its walls. A new apse devised by
Nicholas the fifth, had been carried up to a height of about six feet,
when the death of that Pontiff occurred and it was discontinued.
Giuliano da Sangallo and Bramante being consulted on the
provision of a site for the sepulchre, proposed to complete the
apse commenced by Nicholas, but Julius was animated by very
different ideas and resolved to pull down St Peters and to re-
build it. He immediately ordered designs to be prepared by
several architects, from which he selected that by Bramante.
It is stated that he was led to this decision by the favourable
opinion, which Michelangelo expressed of that design, but as he
departed for Carrara in April, it seems very improbable that
the architects could have prepared drawings for so important
an edifice, in so short a time as that which elapsed between the
decision regarding the monument, the subsequent consultation,
and the departure for Carrara. It is however quite certain that
Michelangelo entertained a very high opinion of the plan by Bra-
mante, which he expressed at a much later period of his life,
notwithstanding all that he suffered from the enmity of that
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ANIfcHIS WORKS 77
architect. From his statement it appears that, according to
it, the church stood quite free from the Vatican, and could
be seen all round, and so highly did Michelangelo appreciate
this proposal, that he expressed his opinion that all who had
departed from it had erred in principle, and that Bramante was
as skilful as any architect who had lived from the time of the
ancients. 1
Michelangelo remained for eight months at Carrara, and how
his time was employed then may be gathered from expres-
sions scattered through the writings of different authors and com-
mentators, as well as from his own letters. It is in the first place
obvious that in giving instruction for the quarrying of blocks
of marble, he must have previously prepared working draw-
ings of his designs, from which the blocks were te be cut.
According to the contracts with the quarrymen the masses
were partially cut into shape and Michelangelo himself blocked
out two of the statues for his design. At a future page the
subject of the occupation of the great artist's time at Carrara
will be further considered, being both interesting and important.
Whilst occupied in the vicinity of the marble quarries, a mass of
rock commanding a view seawards attracted his attention, and
he wished to carve it into a colossus to he seen by mariners.
Its natural" grandeur must have impressed him, but he saw it
not as a portion of the magnificent scenery of the Carrara moun-
tains, but only as material for a statue.
Towards the end of his stay, he went along the picturesque
Riviera to Lavagna, a village of that name near the famous slate
quarries, which furnish Genoa and the whole of Liguria with
admirable slates, suitable for so many useful purposes,, and
there made a bargain with owners of vessels to transport thirty
' Buonarroti Archives. Published In the Lettere Pittoriche « Silvestri, Milan 1822,
V. VI, p. 40.
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78 MICHELANQELO -
four tons of marble to Rome, with two figures each weighing
fifteen tons for the price of sixty two broad ducats in gold. The
contract is dated the twelfth November 1505. He then started
for Florence, and after a brief stay went to Rome, where he
found the vessels in the Tiber with the marbles.
Michelangelo immediately gave orders for the landing of the
blocks and their transport to a place not far from the V atican
and the church of St Peters, where the Pope had given instruc-
tions that a studio should be prepared, and here the marble
was piled in such quantities that it seemed rather a temple than
a monument, which was to be raised. The work commenced at
Carrara was carried on energetically, architectural details being
shaped out by carvers, whilst Michelangelo proceeded with
the statues forming portions of his design. The Pope was in
high spirits and he frequently visited the artist, to whom he
became much attached, conversing with him as a friend of equal
degree. To facilitate these visits, the studio being near the
covered passage which leads from the Vatican to the Castle of
St Angelo, a moveable bridge was constructed between it and
Michelangelo's workshop. This mutual trust, and intimacy be-
tween the Pope and the great sculptor however was short liv-
ed, for Julius suddenly cooled as to the monument, which had
so occupied his thoughts, and his demeanour towards Michel-
angelo changed. Bramante is accused of being the instigator of
this, but it is to suppose him possessed of an influence over the
mind of Julius, which is incredible. It is much more probable
that the Pontiff, who was then considering a policy necessarily
involving much outlay was awakened to the desirableness of less
expenditure upon works of art. Vasari in fact states « that the
mind of the Pope was so occupied with the affairs of Bologna,
that he was unwilling to pay for marbles. » It is incontrover-
tible that the jealousy of Bramante was roused by the great
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AND HIS WORKS 79
favour shewn to Michelangelo; it appears also that in his man-
agement of the works of St Peters now in progess, be misapplied
the funds intrusted to him, and carelessly broke and otherwise
injured the beautiful ancient columns which the old Church
contained, and was at the same time aware that these circum-
stances had not escaped the observation *of Michelangelo. Bra-
mante therefore became the great sculptor's enemy, and his
enmity ceased only with his life, but that it could turn, the
firm, able, determined and clear sighted Julius from a purpose
which be had formed, is obviously to attribute too much influ-
ence to the architect and to his representations. It is stated
that he observed to the Pope « that it was of evil augury to
begin his monument in his life time. » He may have said so,
but it seems absurd te suppose that any importance was at-
tached to this saying. It is next asserted that to injure Michel-
angelo Bramante proposed that be should be employed to paint
the vault of the Cappella Sistina, being, so it is stated, under the
belief that the sculptor would certainly fail in this undertaking
and so lose the favour of the Pope. As there is no explanation
of the grounds upon which the architect formed this opinion, if
said at all, it must have been in ignorance of the powers of
Michelangelo, and of his undertaking in the Hall of the Munici-
pality of Florence.
The Pope's sudden change of conduct so affected Michel-
angelo that he resolved to leave Rome; a resolution which was
confirmed and hastily acted upon, being alarmed by threats,
which reached him, of personal danger to himself.
No sooner did the Pope learn that Michelangelo had fled, than
regretting what had taken place to cause his departure, witn his
usual impetuosity he sent no less than five couriers after him
with letters recalling him to Rome, but so expeditiously did
Michelangelo ride, that he reached Poggibonsi on Florentine
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80 MICHELANGELO
territory before the couriers overtook him. This was an extra-
ordinary escape and so resolute was his purpose, or so great his
alarm, that he left orders to sell his furniture, which shows that
he was in earnest and did not mean to return. He probably
took the shortest road by the Ponte Molle and so 'by the
Campagna to Roncigli&ie, thence across the monte Cimino to
Montefiascone and skirting the lake of Bolsena onwards till he
crossed the high pass of Radicofani, thence to Siena and finally
to Poggibonsi, in a straight line, a ride of one hundred and
thirty miles, with but little rest, as shewn by the fact that he
was not caught by the fleet messengers of Julius. Michelangelo ,
when at last overtaken, was safe on Florentine territory and was
neither moved by the representations of the Papal Couriers, nor
by the missives of His Holiness, to whom be wrote in reply.
« That he never would return, and that he did not deserye such
treatment for his good and faithful service, or to be turned out
like a sad fellow; and since His Holiness was indisposed to pay
any further attention to the monument, he was freed from obli-
gation, nor would he bind himself to anything else. » l
Having consigned this haughty response to one of the Cour-
iers, he continued his journey to Florence, where he must have
arrived about the end- of April 1506.
Notwithstanding the nature of this answer, the Pope without
loss of time made friendly advances to the irate artist through
Griuliano da San Gallo. That His Holiness was displeased was
natural, but notwithstanding the pressure upon his treasury
caused by the preparations for the Bolognese expedition, he
assured Michelangelo that he should be paid, and that he might
resuftie his work upon the monument, and that he need entertain
no personal apprehensions. The following letter by Michel-
angelo is very explicit, not only with reference to these offers
1 Condfri, Ed. cit., p. 80.
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AND HIS WORKS 81
and assurances, but also with regard to a separate cause of
fear and motive for his acts and hesitation in meeting the ad-
vances made to him, which it is necessary to take into account
in estimating his conduct at this important period of his life,
as well as in aftertimes.
' Florence 2d May 1506.
« Giuliano, I learn by a letter of yours how ill the Pope takes
my departure, and how His Holiness will pay a sum and act
according to our understanding, and that I may return free of
apprehension. Of my departure it is true that I heard the Pope
say on Holy -Saturday, speaking with a jeweller at table and
with the Master of ceremonies, that he would not spend one
half penny more either on little stones or big ones, by which I
was not a little surprised; notwithstanding before I left, I asked
for what was needful for continuing the work; his Holiness repli-
ed that I might return on Monday: and I returned on Monday,
on Tuesday and on Wednesday and Thursday as he was aware;
at last on Friday morning I was sent away, that is, turned out,
and he who did so, said that he recognized me, but had his
orders. Thus it was that I, having heard the above words on
that Saturday and now seeing the effect of them, was seized with
desperation; bat this was not the only cause of my departure,
but it was more than this, which I will not write; enough to
say that he induced me to think that if I remained in Rome,
my sepulchre would be made before the Pope's, and this was
the cause of my sudden departure; now you write to me on the
part of the Pope, and so to the Pope you will read this: and let
His Holiness understand that I am more disposed, than ever I
was, to go on with the work, and that if any how he will go on
with the monument, it ought not to trouble him where I execute
it, for it is an engagement between us that in five years it
6
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82 MICHELANGELO
shall be erected in St Peters, wherever it may please him, and
it will be beautiful, as I have promised, and without its equal
in the world. Now if His Holiness will pay the said sum to
me here in Florence, whence I will write to him, and I have at
my order at Carrara a quantity of marble, which I can bring here
and I will bring here also what I have at Rome, although it may
be to my great loss, I should not care, that I might do the work
here, and I should send from time to time the works done, so that His
Holiness would have the pleasure of seeing them, as if I staid in
Rome, or even more, for he would see the complete work without
other weariness, and as to the said moneys and the said work, I
will come under such obligation as His Holiness may wish, and
will give him the security, which he will require, here in Florence,
if it be that he desire that, I shall guarantee it in every way....1
all Florence, enough. I will also say that it is not possible to
execute the said work for the price at Rome, at which I can
execute it here, by reason of the many advantages which I have
here, the which I do not know....2 and besides I shall do better,
and with more inclination, because I shall not have to think of
so many things, wherefore, my very dear Giuliano, I pray you
to reply, and that quickly: nothing more. » 3
Whilst Michelangelo, no doubt, anxiously awaited an answer
to this letter and to his proposals, he received a comunication
from his friend Roselli in Rome, which was ill calculated to
remove one cause of fear, for whilst it showed the friendly dis-
position of the Pope, it also showed that the machinations of
his enemies, from which he dreaded the most serious conse-
quences, were ceaseless and unrelenting.
Writing from Rome on the tenth of May, Roselli informed him
of the wrong which Bramante did by stating to the Pope that
1 * Blanks in the MS.
8 From the Buonarroti Archives.
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AND HIS WORKS 83
he never would return, because he felt himself to be incompetent
to execute the figures, which were to be painted in the Chapel.
Borne IQjtb May 1506.
« -Dear as a brother, I have to inform thee that on Saturday
evening the Pope being at supper, I showed him some designs,
which Bramante and I had to do together, after supper I showed
them. He sent for Bramante and said to him. » Sangallo starts
to morrow for Florence, and will bring back with him Michel-
angelo: Bramante replied to the Pope and said: « Holy Father he
will not come, for I am intimate with Michelangelo, and he told
me that he would not undertake the Chapel, although you insisted
upon giving him this charge, but that he would only attend
to the monument and not to painting, » and he further said
« Holy Father, I believe that he has not the capacity, for he has
not done much of the figure, especially where the figures are
high up and foreshortened, which is quite another thing from
painting on the ground. » There the Pope replied and said
< if he does not return, let me bear the blame, for I believe that
he will certainly return. » At that moment I advanced and in
the Pope's presence I gave Bramante the lie, and said that,
which I believe, that you would have said for me, and in the
mean time he did not know what to answer, and seemed to
think that he had spoken badly. And I further said « Holy
Father, he never spoke to Michelangelo, and if that which he
has just said be true, you may take my head, as for him he never
spoke to Michelangelo, and I believe that he will certainly return
when your Holiness wishes; » and here the matter ended. I
have nothing more to say. Q-od protect thee from evil. If I can
do anything, advise me, I will do it willingly. Remember me
to Simone del Pollaiuolo. » * t> t>
PlETHO KOSELLI.
4 Buonarroti Archives.
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84 MICHELANGELO
It is evident from this letter that the Pope had conversed with
Michelangelo upon the project for employing him to paint in
the Cappella Sistina, and that the latter was indisposed to accept
the commission, although certainly not for the reasons assigned
by Bramante. Having accepted the proposal made to him in
Florence to paint the hall of the Signory, he could have no
dread of the vault of the Sixtine, but he had set his heart upon
carrying on the monument, and, undoubtedly, he preferred'sculp-
ture to painting. Roselli's letter shows, that although Julius
permitted an extraordinary latitude to the conversation which
took place in his presence, Bramante's ill natured remarks had
no effect upon him, and in no way weakened his regard for
Michelangelo.
Vasari states that the Pope sent three Briefs to the Signory
of Florence, calling upon them to induce him to return to Rome
by persuasion, and if that was not successful, by compulsion.
He also employed the good offices of friends, and Giovanni
Balducci assured him that the Pope wished him to return to
Rome to go on with the work but lately begun, saying to him,
« That it would be both honorable and useful to him, however
you can judge better than I can of your own affairs, and before
all, take good council, I only desire for you what I should for
myself. » It is apparent, Michelangelo believed that these nego-
tiations would lead to resuming his work upon the monument,
although he continued unwilling to return to Rome, for he made
a journey to Carrara upon the twentieth of May to look after
the marbles which were at his orders there, a journey, which
he certainly would not have undertaken, had he thought the
execution of the monument hopeless. On his return to Florence,
he resumed his labours on the*cartoon and awaited events.
Pier Soderini the Gonfaloniere, — although he had in reality
been as much gratified hy Michelangelo's return, as he had pre-
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AND HIS WORKS 85
viously been dissatisfied by his departure, wishing him to execute
the painting in the Hall for which the cartoon was in prepara-
tion, — could not escape the responsibility thrown upon him by
the repeated mandates of the Pope, and felt himself under the
necessity of pressing Michelangelo to accede to the wishes of His
Holiness, saying. « Thou hast tried an experiment with the
Pope, which a King of France would not have ventured; but
the time is past for entreaty, we will not go to war with him
on thy account, ,or expose our State to risk: so prepare thyself
to return. » *
Michelangelo still declined. There can be no doubt that his
confidence in Julius had b^en rudely shaken. The sudden
change from friendly intercourse to the insulting treatment
which he received at the Vatican and which he has so graphi-
cally described, made an impression upon his sensitive mind
not easily removed, nor did he entirely overcome this distrust,
when finally he returned to the Pope, and the former friendly
intercourse was resumed.
It is probable that the amicable advances of the Pope and
the arguments of his friends would have prevailed sooner, not-
withstanding his distrust, but for his apprehension of assassina-
tion, if he returned to Rome. Otherwise his conduct in declining
all steps to reconciliation and embarassing his own government
must seem inexcusable. It is probable that he informed Sode-
rini of his fears, as he had made it known to the Pope through
Sangallo, for when he stated that he would rather pass into the
service of the Turk than return to Rome, the Q-onfaloniere sig-
nificantly remarked. « That he would make a better choice
to die, siding with the Pope, than to live passing over to the
Turk. » * This remark is not intelligible, unless Michelangelo
had explained his difficulty.
1 » Condivi, Ed. cit., p. 21.
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86 MICHELANGELO
Soderini continued to urge « that he should have no appre-
hension, because the Pope was benignant, and recalled him,
because he liked him, and not to harm him: and that if he still
feared the Signory would send him with the title of ambassador;
as to persons with a public character no violence could be offered,
which was not offered to those who sent him. »
The Gonfaloniere wrote to Rome in the month of July 1506
in reply to one of the Papal missives « Michelangelo the Sculp-
tor is very much frightened, so that, notwithstanding the Brief
sent by His Holiness, it would be necessary that the most Re-
verend (Cardinal) of Pavia should write a letter under his own
hand to us, giving security for his safety, and we have 'used
and adopted every means to induce him to return, assuring your
Signory that if gentle means are not adopted, he will depart from
this, as he has already twice determined. » 1
It is evident that besides his fear of assassination Michelangelo
had by this time, and under the circumstances it is not to be
wonderd at, become apprehensive of the wrath of the Pope*
He was however wrong in his estimate of the character of Julius
and of his personal regard.
In the remarkable letter to Sangallo there is a statement,
which merits especial attention, « for it is an engagement between
us that in five years it shall be erected in St Peters wherever
it may please him, and it will be beautiful as I have promised
and without its equal in the world. » If the number of statues
and groups contained in the sketch in the Florence gallery be
reduced to forty, as specified by Condivi, this implies that Michel-
angelo bound himself to produce eight statues in each year,
besides the architectural ornaments and massive structure of this
great monument. It is evident therefore that he intended to
employ a great body of assistants and to surround himself with
1 Gaye, V. n, p. 83.
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AND HIS WORKS 87
pupils , for it is clearly impossible that he should produce so
many statues, as those agreed upon, if in his usual manner he
worked alone, some of them being of colossal size. At his
usual rate of production they would have occupied on a moder-
ate calculation fifty years.
Michelangelo resumed his work upon the Cartoon for the mu-
ral painting in the ancient palace of the Municipality. In the
notes added to the edition of Vasari by Milanesi and Pini, the
date is taken as August 1505, but, it is calculated at the same
time, that Michelangelo left Florence at the beginning of 1505,
and it is quite certain that he did not return there ^th the
intention of remaining till the end of April 1506. It was there-
fore impossible that be should have completed the Cartoon in
Florence in August 1505, as he was then at Carrara, where he
proceeded in April that year and remained eight months. He
returned to Rome in November, commenced his work upon the
monument, and fled, as has been seen by his- own letter, towards
the end of April 1506.
Stress is laid upon a statement in an account of Piero di
Zanobi, dated August 30th 1505, « for five laths for fixing up the
Cartoon of Michelangelo » from which it is inferred that at that
time the cartoon was finished, and that outlay was made for
commencing the picture, which Michelangelo was prevented
doing, from the circumstance of his having been summoned by
the Pope to go to Bologna. But this did not take place till
November in the following year and the account therefore must
be erroneously dated. *
Michelangelo had been provided with a spacious room in the
hospital of the Dyers at St Onofrio, in which to execute his
Cartoon. Like his great competitor Lionardo da Vinci, he
selected for his subject an episode of the war with Pisa.
* There may be a misprint somewhere.
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88 MICHELANGELO
The foment of action represented was that of a sudden attack
made by the English partizan leader, Sir John Hawkwood, then
in the pay of the Pisans, on the Florentine army, whilst a por-
tion of the soldiers were bathing in the Arno. These are
represented rushing from the water, climbing the steep banks of
the river, and hurriedly dressing and arming themselves. An
elderly man crowned with ivy leaves to shade his head from
the sun, hearing the tumult, the shouts of the soldiers, and the
beating of the drums, with energy pervading every part of his
body, with a truth, a vivacity of attitude admirable in drawing
and expression, struggles to force his leggings over his wet limbs
and to get ready for action. Some soldiers are depicted rush-
ing into the fight with loose drapery hastily thrown round them,
others naked in their eagerness and with only their offensive
weapons in their hands. The variety of attitude is infinite, involv-
ing the most difficult foreshortenings, for Michelangelo was bent
upon showing his powers. Some of the groups in the cartoon
are described as having been drawn in outline with charcoal,
some hatched with chalk, others shaded with the stump or what-
ever rubber may have been used, the lights being heightened
with white. Artists were astonished and overcome with admi-
ration on seeing this cartoon, in which Michelangelo showed
them to what an elevation art might be raised, and some said
who saw it that nothing comparable to it had been done whether
by his hauds or by those of any other artist, and that no other
might hope to equal it. All those artists, who formed their style
upon it and drew from it, Vasari says became famous. If not
true of all, it was so of a considerable number.
Of the effect exercised by Michelangelo through his works
upon many Masters of more or less renown, there can be no
question. His art was a revelation. The newly discovered
sculptures of the Greeks, and after them the creations of Michel-
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AND HIS WORKS 89
angelo, illumined the paths trodden by artiste, elevated their
conceptions, gave breadth to their views, but did not divert the
greater amongst them from the manner, which the individual
genius or temperament of each had marked for himself.
There is a paragraph of Vasari's description of this grand work
which has a special interest. It is that, which states that portions
of it were completed in effect of chiaroscuro. As it was the custom
of artists to study the chiaroscuro as well as the form in black
and white before beginning to paint, it is probable that sections
of this cartoon were executed with extraordinary care. « Michel-
angelo wished to show his powers and mastery of the art. » l
There remain to this day drawings by Michelangelo, which are
carried to such perfection of finish, with at the same time such
freedom and mastery, that they may be spoken of as painting
with the point. This practice of working with the crayon, either
in black only, or in black and white, or in black, red and
white, or else in red, or red and white, was so universal amongst
the old masters of every school and was carried so far, that
there must have been sound reasons for it. Apart from the
esteem in which such drawing was held as important to an ar-
tist's training, the analogy between it and tempera painting,
and also fresco painting, both methods involving the use of the
point, that point being a brush instead of chalk, whilst the system
of lining and hatching is almost identical, accounts for the
wide spread prevalence of careful chalk drawing. It in fact
gave such facility, that the readiness with which Michelangelo,
when in Florence consented to paint, although chiefly occupied
as a sculptor, is partly accounted for by the confidence with
which he was inspired by his infinite dexterity with the point.
He painted rarely and only at intervals, in oil and fresco and
always with as much success, as if he never omitted to practise
* VMari, Life of Michelangelo.
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90 MICHELANGELO
and carry out in painting as well as in drawing his own ma-
xim « Nulla dies sine linea » and the fact increases the wonder,
which his paintings inspire.
As Michelangelo, yielding to the representations of his friends
and the wish of the Pope, left Florence for Bologna in November,
then if he* finished the Cartoon in August, there are three months
of his stay in Florence, of the occupation of which there is no
record. However his time was occupied, the mind of Michel-
angelo could hardly fail to be excited by the controversy, which
raged in Florence between the artists who preferred his cartoon
to the great picture of Lionardo da Vinci, and those who prefer-
red the latter work, a controversy carried on with all the fervour
of Italian feeling, but which need not be renewed here. We
are not now in a position to compare the two artists, for we
know little of Lionardo da Vinci's power of drawing the nude, in
which Michelangelo excelled. Lionardo's great monumental
work, of which the shadow survives at Milan, is entirely com-
posed of draped figures. The materials for comparison are not
sufficient and in their absence it is useless to attempt it. At
this period the two greatest artists in the world, between whom
there seemed to be no place for envy of each other, but rather
for mutual respeet and for noble and disinterested friendship,
were unhappily divided and influenced by very different feelings.
In a brief memoir of Lionardo by an anonymous writer dat-
ed 1510, which is preserved in the National Library at Florence,
the following anecdote is related. « Lionardo was of a hand-
some person, graceful and ,with a beautiful countenance. He
wore a short rose coloured cloak only reaching the knee at a
time when long dresses were worn, and he had a magnifi-
cent head of hair, which fell in curls and carefully dressed,
as far down as his breast. Lionardo passing together with
G. da Gavina by Santa Trinita from the bench of the Spini,
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AND HIS WORKS . 91
where there was a meeting of honourable men, who disputed
regarding a passage of Dante, they called to Lionardo requesting
him to explain the passage. It happened by chance that at that
moment Michelangelo came in sight, and was called by one of
those present, when Lionardo said that Michelangelo would
explain the passage, who fancying that this was said in mockery
angrily replied, explain it yourself, who designed a horse to be
cast in bronze which you could not cast, and shamefully gave
it up. And so saying he turned his back and went on his way
saying, whilst Lionardo reddened at these words intended to
wound him, « and you were believed in by these Milanese block-
heads.» x
This is an unhappy story, it is told by an anonymous writer,
but the complaints from time to time occurring of the harshness
with which Michelangelo sometimes expressed himself are in fa-
vour of its general truth. He was subject to outbursts of passion,
and on this occasion, whilst Lionardo appears to have conducted
himself with dignity, Michelangelo behaved ill.
1 Archives. Florence, Third Serie, V. xvi, p. 226.
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Chapter V
vents occurring at this period of Michelangelo's
career by which it was materially influenced,
the scene of his labours was once more changed,
and his reconciliation with Julius was brought
about in a manner honourable to both. The
Pope's conquests of Perugia and Bologna have been so effectively
described in other biographies, that it is needless to go over the
same ground, however attractive from the strangeness and inter-
•est of the events and the picturesqueness of their character. The
outset of the Papal army from Rome, led by the Pope in person,
accompanied by a court of twenty-four Cardinals, and no doubt
■other Church dignitaries with their numerous retinues ; by Ro-
man nobles of historic names and their followers, and by five
hundred men at arms with their usual proportion of infantry,
with the mixed crowd of camp followers in the picturesque
costume of the day, with the baggage, provisions, sumpter mules
and ox carts, must have made a spectacle which it is to be re-
gretted that fine art did not at that time record.
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94 MICHELANGELO
For more than one march from Rome this army must have
traversed the Campagna, then as now marked by sombre deso-
lation. The Pontiff probably hastened on to the shelter of the
nearest town, followed by the high dignitaries of his court, but
the march of the army was necessarily slow, and the bivouacs
in the Campagna or along the skirts of the Appenines, and after-
wards within their defiles, must have presented many picturesque
scenes. The roads then were far from being what they are now,
and the indomitable Julius, spite of every precaution, endured
hardship and privation, especially in that part of the march
which traversed the mountains, where towns are far apart, vil-
lages but wretched collections of houses of the poorest sort, and
solitary residences or farms rare.
The expedition ascended the valley of the Tiber to the pictur-
esque Orvieto, perched on the summit of precipices. Thence
the warlike Pope proceeded to Perugia, where he received the
abject submission of its tyrant Giampaolo Baglioni, who not only
yielded, but agreed to join the expedition with one hundred and
fifty men at arms.
Baglioni must have been sorely tempted, when the Pope and
his clerical following entered Perugia, with no adequate mili-
tary guard in most unmilitary fashion; trusting apparently to
the demoralization of his adversary, and exposing himself and
his Cardinals, not merely to possible, but to very probable danger.
Through mountain defiles the Pope advanced to Imola, and
was there joined by French auxiliaries, which with character-
istic perfidy, Louis XII had promised to Bentivoglio, who being
thus deserted seeing that resistance was useless, left Bologna.
The Pope entered that city in bloodless triumph on the festival
of St Martin the eleventh of November, two months and fifteen
days after his departure from Rome. Notwithstanding his
political cares and occupations in ordering his conquest, he
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AND HIS WORKS 95
remembered Michelangelo, and caused the Cardinal of Pavia
to write to the authorities in Florence to persuade him to return
to the Papal service, giving every assurance of honourable
treatment and personal safety. Michelangelo had now so far
conquered his apprehensions, that he at last set out bearing
with him the official reply to the Cardinal, recommending him
in the strongest terms to the good offices of his Eminence with
the Pope, and thus describing him. « There is united in him
every good gift comprehending capacity and excellence in his
art » to which the Signory added « We also shall be gratified and
greatly obliged » by the Cardinal's good offices. Michelangelo
was further provided with another letter by his friend Piero
Soderini to his brother, the Cardinal of Volterra, thus expressed :
« The bearer is Michelangelo sculptor, who is sent to be at
the disposal of His Holiness, our Lord. We certify to you
that he is an excellent, young man, and in his profession
unequalled in Italy, perhaps in the whole world. We cannot
too earnestly recommend him. He is of such a disposition that,
if he is kindly bespoken and well treated, he will do every thing.
It is needful to show him affection and favour, and he in return
will do works which will astonish all who see them. We make
known to you that he has here begun an historical picture for
the public, which will be a marvel, and also twelve Apostles,
nine feet in height each, which will be transcendent works.
We reiterate that we recommend him with all our good will. »
22nd day of November 1506.
« The said Michelangelo proceeds upon the pledge of our
faith. » l
1 G»ye, V. u, >. 93.
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96 MICHELANGELO
This interesting letter describes the disposition and merits of
Michelangelo, as they were understood by his true and intimate
friend Soderini. It harmonizes with his proceedings and his
intercourse with others, and if it does not sum up all the
elements of his character, it dwells in just terms on more, than
one attractive side of it. No doubt this letter was read to Julius,
who was informed by it, if he had not heard the fact before
through other sources, that Michelangelo « had begun an historical
picture for the public, which would be a marvel, » and that he
willingly undertook to execute an important mural painting.
It will be well to remember this in estimating future transactions
between them. Soderini also mentions the statues of the twelve
apostles. He had evidently seen the St Mathew partially blocked
out in marble, and already described, and must have formed a
high estimate of it to include it in this letter, omitting to mention
other and more important works, which however he may have
thought were sufficiently well known.
Upon his arrival at Bologna in the first days of December,
Michelangelo went to the Church of San Petronio to hear mass.
Whilst thus engaged, he was recognized by some attendants of
the Pope, who at once informed him of His Holiness's desire to
see him without loss of time, and escorted him to the presence.
The Pope, although undoubtedly gratified by his arrival, re-
garded him austerely and said. « In the stead of your coming
to us, you seem to have expected that we should attend upon
you. » Michelangelo kneeling, with dignified submission asked
that be might he pardoned, adding « that he felt that he had not
merited the treatment, which he had received. » An unlucky
courtier charged with his official presentation, here interfered,
saying, « He has erred in ignorance, these painters out of their
art are all so » but he had better been silent, for he brought
down on his own head the pent up wrath of Julius, who shouted.
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AND HIS WORKS 97
« How, dost thou presume to reprove him whom we have not,
thou art an ignorant and pitiful fellow, get out of our sight and
go to the devil. » The unhappy official was driven out of the
presence chamber with blows. Strange picture of the times and
of the temper of Julius.
Motioning to Michelangelo to approach, the Pope gave him
his pardon, and with friendly expressions desired him to
remain in Bologna, where he had a great work for him to
do. In a few days he was summoned and was then informed
that this work was to be a statue of the Sovereign Pontiff, to be
cast in bronze, and placed over the doorway of the principal
entrance of San Petronio. The nature of the agreement made
was described at a subsequent period in a letter written by
Michelangelo to Messer Giovan Francesco Fattucci. « When
Pope Julius was at Bologna, I was obliged to go there with the
shoe latch round my neck to ask his pardon, he gave me his
portrait to make of bronze, a sitting figure fourteen feet in
height, and having asked me what it would cost, I answered that
I thought that it might be cast for one thousand ducats, but that
it was not my art and that I could not undertake it : he replied, go,
work and cast it often enough till it succeeds, and we shall give
you enough to content you. To be brief, it was cast in two
trials, and at the end of two years that I remained there, I
found myself with a balance of four ducats and a half, and in
this period I had no more, and the whole expenditure which I
made in these two years was one thousand ducats, with which I
said that I would cast it, and this was paid to me in various
sums by Messer Antonio Maria da Lignano Bolognese. » 1
No sooner had Michelangelo received the Popes orders, than
he commenced the statue, in a pavillion behind' the church set
apart as a workshop, with such alacrity and modelled the clay
1 The Buonarroti Archives.
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98 MICHELANGELO
with such industry and rapidity, that the Pope was greatly
pleased and did not fail to say so with his usual frankness and
energy. These expressions of approbation gratified Michelangelo,
who writing to his brother after one of these interviews ex-
presses his gratitude to God « as by means of this statue, if it
proved successful, he hoped to win the favour of His Holiness. »
That he might carry on his work without delay and receive the
assistance which he required, he sent to Florence for three per-
sons, Pietro Urbano, Lapo and Ludovico competent to give him
the necessary aid./ Of these, Lapo he found could not be
trusted, being boastful, intriguing and dishonest, Michelangelo
therefore dismissed him from his service, but in doing so lost
Ludovico also, who was induced by Lapo to return to Florence
to bear witness, to the story which the latter invented to account
for his dismissal. p
Anticipating the possible results of the statements of the pair
of worthies, Michelangelo advised his brother Buonarroto of their
departure, saying: « Not that I care, for they are not together
worth three farthings, but if they manage to speak to Lu-
dovico, 9 he may be taken by surprise, tell him not to listen to
them.» 8 This warning did not suffice, for when they presented
themselves to the old father and told their tale, instead of refusing
to listen to them, he took their side, and blamed Michelangelo for
his conduct towards them, who replied with a calmness and di-
gnity which showed the generosity of his disposition and his de-
cision of character.
1 Lapo d 'Antonio di Lapo. Florentine Sculptor. Till 1491 he im one of the Marten
salaried by the office of works of the Cathedral. He sculptured in 1505 the marble tomb
of Messer Antonio di Terranuova* Hospitaller of Santa Maria Nuova. On the tenth of
December 1506 he was licensed hy the office of works to absent himself and to go to£k>-
logna. Born 1465 died 1586. Ludovico di Guglielmo del Buono surnamed Lotti born in
Florence in 1458. An apprentice of the goldsmith Antonio del Pollaluolo. Afterwards
became a metal caster and was a Master of the foundry of cannon of the Florentine Re-
public. In 1516 he cast a bell and two Candelabra for the Cathedral.
v Ludovico Buonarroti his father.
• Buonarroti Archives.
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AND HIS WOBKS 99
« Dearest Father, I have to-day received your letter (dated
eighth February 1507) by which I understand that you have
been misled by Lapo and Ludovico, I hold it to be my duty to
submit when you reprove me, when I deserve to be reproved
as a sinner as much as others, perhaps more so. But know
that I have done no wrong in this matter on which you accuse
me, neither towards them nor any one else, except that I did
more for them than they deserved, and all men with whom I
have been mixed up are aware what I know of them; and even
should they not know, Lapo and Ludovico are those who know
it better than any one else, that the one had in one month and
a half twenty- seven ducats, and the other eighteen full weight,
and their maintainance besides. I therefore beseech you that
you will not get upon your high horse when they complain of
me, rather ask them how long they were with me, and how
much they had from me, and then you may demand what they
complain of. But their great object, and especially that of this
sad fellow Lapo, was this; they gave out to every one that it
was they who did this work, or that they were associated with
me, and they never understood — Lapo especially — who was
their master, till I turned them out; by this only he has learnt
that he was in my service; having prepared so much business
and begun to boast of favour with the Pope, he was astonished
that I should turn him off as a stupid fellow. I regret that he
has seven ducats of mine, but if I return to Florence he shall
repay them at any cost, and he ought to repay others which
he had of me, if he had any conscience. I will not say more,
because I have written regarding these men to Messer Agnolo, 1
to whom I beg that you will go, and if you can take Granacci *
with you, and make him read the letter which I have written,
1 Manfidl Herald of the Signorj of Florence.
* Painter and attached friend of Michelangelo.
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100 MICHELANGELO
you will understand what rascals they are. But I request
you to keep to yourself that which I write about LudovicO,
for if I cannot find some one to come here to melt, I shall bring
him back, for in truth I did not turn him away, but Lapo being
so blameworthy induced him to go to mitigate his case; you
will understand from the Herald how you have to act, have no
words with Lapo, for it is too discreditable that we should be
mixed up with him.
With regard to Giovansimone it does not appear to me that
he should come here, for the Pope departs this Carneval, and
I believe that he will direct himself towards Florence. He
does not leave things in good order here, according to what is
rumoured there are causes for suspicion, not to be inquired into
nor written about. Enough of that. If nothing happens, which
I hardly hope, still I will not have the burthen of brothers on
my shoulders. Do not go about making a wonder of this, but
say nothing to any man, for I have need of men, and I might
not find any to come, and after all, possibly things may go well.
I shall soon be with you, and I shall do that, which please God,
will satisfy Giovansimone and the others. Tomorrow I shall
write to you about money, which I mean to send you, and also
as to that which you have to do with it. With Piero I have
an understanding, he will answer for me: he is an honest man,
as he has always been. »
The letter is signed here, then in Michelangelo's manner a long
postscript follows :
« Again I inform you, so as to reply to the extravagant accu-
sations, which Lapo brings against me. One fact is enough, and
it is this; I wished to buy seven hundred and twenty pounds
of wax, and before buying I said to Lapo, find out who has got
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AND HIS WORKS 101
any, and make a bargain, and I will give you money to procure
it Lapo went and returned, and told me that it was not to
be had for a farthing less than nine ducats full weight, and
twenty Bolognini the hundredweight, equivalent to nine ducats
forty soldi,. and that I should hasten to take it at once, as it
was a chance that he had found it. I said that he should go
and try to take off these forty soldi, and I would then take it,
he answered, these Bolognese are of such a nature that they
never take off a farthing from that which they ask. I now
became suspicious and dropped the subject; but on the same day
I called Piero on one side, and told him to go quietly and to
find out the price of the wax per hundredweight. Piero went
to the same merchant as Lapo, and bargained with him for eight
ducats and a half, and I took the wax, sending Piero for the
discount which was readily given. This is" one of the « extra-
vagances » which I did by him, and indeed I am aware that
he was surprised that I discovered his roguery. Eight ducats
full weight and his keep was not enough for him, but that he
must contrive to cheat me besides; and he may have done so
many times of which I know nothing, for I trusted him, nor
did I ever see a man of a fairer outside, whence I think that
with his apparent worth he may have cheated others, so trust
him in nothing; and pretend not to see him. » 1
The life which Michelangelo led at Bologna was poor and
laborious, so much so that he could not even receive his brother
Giovansimone, who sd often proposed to visit him. He had
hired a wretched room, and purchased one bed, which he slept
in, in common with his assistants.
He was thus penurious, not for himself, for he did not fail to
give to his father and brothers — not at this time from his gains
1 Buonarroti MSS. British Museum.
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102 MICHELANGELO
from his commission for he could not reckon upon them — but
from his savings deposited in the Hospital of Sta Maria Nuova.
When he wrote, he dwelt upon his anxiety to return home and
to be near his family, that he might assist them, and whilst
working at Bologna, he was sanguine as to his success with the
statue of the Pope and with his future prospects of reward.
It is to be remarked that he di3 not contemplate solitary work,
but like artists of his time employed able assistants, it is mani-
fest that both Lapo and Ludovico took a share in modelling
the statue of the Pope. It also appears, that the wretched way
in which he chose to live, reduced him .to such a level with his
auxiliaries as to deprive him of their respect. He brought upon
himself their assertion of equality and placed himself at a dis-
advantage with them, and probably with the retinue of the Pope
and others in Bologna. Michelangelo was very jealous of any
disrespect shown to him, yet at times through life, by his eccentric
habits he unfortunately prompted its expression, as upon this
occasion. He was at the same time of an obliging disposition
very ready to serve others, and to sacrifice time and thought
for them, which was thus illustrated when he was so busy
in Bologna. Piero Aldobrandini requested the great artist to
procure for him the blade of a dagger of the fine quality of
steel, for which that city was noted. The request was first
made through Buonarroto, and Michelangelo gave the order to
the best armourer, but such was the demand, owing to the pre-
sence of the Papal court, that although numerous and excellent
artificers flocked to so excellent a market for their skill, still
this particular blade could not be got ready and sent to Florence
before the sixth of March 1507. Aldobrandini was dissatisfied
with it, when it reached him, and had the bad taste to say so.
Buonarroto with equal clumsiness informing Michelangelo, who
was naturally indignant and thus wrote :
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AND HIS WOEKS 103
26th March 1507.
« I had thine to me days ago, by which I am fully informed
regarding the dagger for Pietro Aldobrandini. I tell thee that
were it not for thy regard for him, I would let him chatter as
"much as he pleased; know that the blade which I sent, was
made to his measure; for he sent me one on paper in a letter,
and wrote to me to have it done exactly in that manner; if he
wanted a dagger, he should not have sent me the measure of a
rapier. But I now write to thee what I would have avoided,
and that is that thou shouldst not keep company with him, he
is not company for thee. Enough said. If he comes to thee for
the blade, do not give it to him on any account, but without
rudeness to him, say that I have given it to a friend. It cost
me nineteen Carlini and thirteen quattrini of tax. » *
That these might not be merely unmeaning words, Michel-
angelo wrote again to his brother on the last day of March,
saying that He was pleased that Piero would not have the dagger.
« It was not for him to carry arms at his belt » and he requests
Buonarroto to make a present of it to Filippo Strozzi, a very
different sort of man, and to say nothing of the price, adding
with kindly consideration for his brother:
« That he had not seen the blade, so do not give it, unless it
seems fit for him, in case thou shouldst not appear favourably,
because he merits something better, than Piero. » *
It appears that Strozzi had the dagger, but that Buonarroto
did not act with the delicacy and liberality recommended by
Michelangelo, who some time afterwards in very plain terms
reproached him:
« With having acted in so lousy a way towards Strozzi. » 8
1 Buonarroti Archive*.
1 Buonarroti Archives.
• British Museum M88. Letter of (Michelangelo to Buonarroto SO April 1607.
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104 MICHELANGELO
Michelangelo devoted himself to the model of the statue with
that solicitude and untiring energy, which marked his character.
Before the Pope left Bologna, not for Florence as had been reported,
but for Rome, the clay model was almost finished.
The statue was draped in the voluminous and richly orna-
mented robes of a supreme Pontiff, with the tiara on the head,
the right hand lifted in the action of benediction, whilst the left
was as yet unoccupied. The Pope examined this representation
of himself before his departure, and, no doubt with the satisfac-
tion, which, as mentioned in the artist's correspondence, he had
before demonstrated. Being asked what should be placed in the
left hand « a book? » — « rather a sword, I am no reader » was
the characteristic reply. l The Pope in his turn asked a question:
« Does the right hand bless or menace? » Michelangelo replied
with ready tact and entering into the humour of the scene;
« Holy Father, it menaces this people if they be not prudent.*
If the question be characteristic of the Pope, there can hardly be
a doubt that it indicates the energy of the action of the statue, the
presence in it of the « terribile » of Michelangelo; for referring to
the work of no other sculptor would the question have been apposite.
The time was now approaching for the departure of Julius
from Bologna. He was not destined to see the finished statue,
which was to commemorate his victory. A revolution in Genoa
towards the close of the year 1506 called for the intervention
of the French King, and French troops crossed the Alps, whilst
a French fleet sailed to assist in the investment of the « superb »
city and to reduce it to obedience. Under these circumstances
Julius could hardly feel comfortable in the vicinity of his French
allies. With them on their own side of the Alps, he could nego-
tiate more favourably, than when actually intervening in arms
to the south of that barrier. He discovered that the air of Bo-
1 Condirf, Ed. clt.,p. W.
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AND HIS WORKS 105
logna was unfavourable to him, 1 and on the twenty-second of
February 1507, his last act in that city was the laying of the
foundation stone of a fort, near the Galliera gate on the side of
Ferrara. He did not forget, however, to provide Michelangelo
with a credit for one thousand -crowns on the Bank of Messer
Antonmaria da Lignano, to be paid to him in instalments, as the
work went on.
The clay model of the statue being finished, was moulded, and
the cast in wax was made. This occupied the sculptor till the
end of April. It is of interest to estimate the time spent in the
execution of this colossal statue. Michelangelo reached Bologna
in the beginning of December 1506, his letter from the Signory
being dated the 27 th of November of the same year. Probably
he received his instructions from the Pope a few days after
his arrival, whilst a place for working in was immediately
provided, when it is reasonable to suppose that his next step
was to set up the stout platform and framework necessary for
so great a statue. Several waggon loads of well tempered clay
had then to be procured; at least fifteen days must have been
occupied in these operations, and whilst directing them, he in
all likelihood made his wax model or sketch of the proposed
portrait, and it may be assumed that the Pope gave him some
sittings either for a bust or for sketches. Assistants would
then pile up the heavy masses of clay, which he was to mould
into form, as these must have amounted to several tons, the
statue in its sitting posture being at least fourteen feet in
height, and of great width, owing to the nature of the costume.
Before the twenty -second of the following February, that is in
about two months and a half, he had so far completed his colossal
work, that it became the fit subject of the conversation with
Julius, which has been related.
1 GuieeUrdlnl, History of Italy, V. in, p. 804.
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106 MICHELANGELO
By the end of April the wax cast was made and carefully
retouched where needed, the internal and external moulds were
prepared in the usual way, the process having occupied about
twenty-five days.
The letters of Michelangelo indicate the anxiety from which
he suffered. It may well be supposed that he was worn in body
by the prodigious effort, which he had made, and that his mind
was disturbed at a time, when calm was so necessary to the
successful issue of his work. Whatever the reason, he was yet
nervous with regard to the Pope's disposition towards him, not-
withstanding the obvious favour with which he was treated.
No doubt he remembered when in Rome his intimacy with
Julius, the many marks of regard shown him, the. interest in
his work, the appreciation of his talent, the daily friendly
intercourse, and the sudden change which took place in so
unaccountable a manner. The refusal to pay the money justly
due, the denials made at the hitherto open door of the Vatican,
and the contumely with which he was treated. These facts
could not be overlooked, and therefore, if he felt distrust now,
spite of the renewal of kindly intercourse, it was but natural
to do so.
There was also the treachery and misconduct of two of his
assistants, when he needed honest and faithful service. There
was the irritating vulgarity of his friend, the humiliating folly
of his brother and the senile injustice of his father. Notwith-
standing these annoyances, he worked with energy and astonishing
rapidity, but he had no knowledge of the process of bronze
casting. He did what was best under the circumstances and
sent to Florence for the Master Bernardino, * who was of high
1 Maestro Bernardino d' Antonio dal Ponte di Mllano, who in 1504 passed Into the
serrice of the Florentine Republic as Master Caster of artillery, In which serrloe he re-
mained till 1612. He must hare been held to be a skilful founder as Michelangelo employ-
ed him to cast the statue of Pope Julius. Francesco Rustic! employed him In 1509 to cast
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AND HIS WORKS 107
repute in the art; when suddenly a new cause of disquietude
presented itself, and seemed to justify the Pope's statement, that
the air of Bologna was unhealthy. The plague broke out, and
the troubled artist wrote to his brother Buonarroto on the twenty-
sixth of March:
< Here plague has begun, and of a bad kind, it spares no one
whom it attacks, although as yet there are few cases ; I hear about
forty. » 1 Besides the plague within the city, another without its
walls made it difficult to enter, for the banished Bentivoglios
and their partisans had gathered a force of six hundred infantry
and approached the gates, making the roads unsafe, and filling
the city with anxiety and alarm. On the second day Michel-
angelo wrote to his brother Giovansimone:
« You must know that people here stifle themselves in armour,
and for four days including this one the whole land is in arms
with great uproar and danger, especially to the party of the
church, and all this on account of the exiles, that is the Benti-
voglios, who have tried to reenter the city with a great multitude
of people; but the courage and prudence of the Legate, with the
foresight which he has shewn, have, I believe, once more liberated
the land, for there is news that at twenty -three o'clock this
evening the enemy retreated with small honour; notwithstanding,
pray God for me, and keep your spirits up, for I shall soon be
with you. » * There is not a letter in which he does not show
this ever present desire to return home, and for the sake of
which he gave himself no rest from his work, which however
kept him longer in Bologna, than he expected.
in bronse a group of statues to be placed over one of the doors of the Baptistry Florence.
He also cast the grating of the new Chapel in the Palace of the Signory, and the bronze
ornament of the base of the David by Verrochio. The permission granted to him by the
Signory to join Michelangelo at Bologna is dated 7th Hay 1507. Note by the Cavaliere
Gaetano Milanesl on the letters of Michelangelo to Buonarroto SOth April 1501.
< Buonarroti Archives. Letter of 26th March 1507.
* Buonarroti Archives.
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108 MICHELANGELO
Maestro Bernardino obtained the permission of the Signory
to place himself in the service of Michelangelo. Before his
arrival those of a Frenchman had been secured, but he must
have been parted with when Bernardino arrived, whose license
is still preserved in the central archives of Florence.
Die zv Mali 1507.
« Dederunt licentiam Magistro Bernardino Magistri Antonii
magistri getti existenti in civitate Florentie eundi Bononiam
pro gittando immaginem eream summi ponteficis. »
With the aid of so skilled a master in the art of brass founding,
Michelangelo hoped to cast the statue about the middle of June.
The intensity of his feelings on the subject may be seen in his
next letter to his brother:
« Say also to Ludovico that I believe that about the middle
of next month I shall by all means cast my statue, so that if
he will pray to God that it succeed, let him do so at that time,
and say to him that I pray him to do so. » 1
It is probable that on the arrival of the Master Founder a
furnace had to be built. Metal was provided, part of it being
a bell from the tower of Giovanni Bentivoglio, confiscated to
help to form the statue of his enemy and to commemorate his
own defeat, and part of it a broken gun the property of the
commune of Bologna. This provision of metal of very different
mixtures was not calculated to assuage the anxiety of Michel-
angelo regarding the casting, which took place towards the end
of June, but failed to a considerable extent; the metal was not
sufficiently melted and there was not enough to fill the mould,
therefore the upper part of the statue remained uncast.
1 British Museum. Letter of Michelangelo to Buonarroto 26th May 1507.
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AND HIS WOEKS 109
However grieved and mortified, the disappointed Artist did
not lose courage, nor did lie express himself otherwise than with
a lofty and placable spirit in speaking of the man, whom he
had absolutely confided in, but who was to blame for the calamity.
Thus he tells the story:
« It is enough to say that it has happened badly: but still,
thank God, I hope for the best; I shall know in a few days what
I have to do, and I shall inform you. Tell Ludovic, and be
of good cheer, and if it happens that I must do it over again
and that I cannot return home, I shall adopt every means to
do that which I have promised to you, as best I can. » *
So good was he, that at a time when personally he suffered
much, with a prospect of a grievous loss of time and property
before him, with plague on all sides, he used words of comfort
and encouragement to the members of his family, and spoke
generously of the author of his disappointment. Writing on the
sixth of July to the same brother, he says:
« Buonarroto, know how that we have cast my statue, in which
process I have not had too much good luck; and this has been
caused by the fact, that Master Bernardino did not melt the
metal well; how this happened, would be too long a story to
write. It is enough to say that my statue is cast up to the
waist, the rest of the model remaining in the furnace not being
melted, so that to take it out, I must break the furnace down
and have it rebuilt within this week. On this next attempt I
shall cast from above, and so finish the filling of the mould, and
I believe that it will do very well; but not without much anxiety
and fatigue as well as expense. I had such faith in Master
Bernardino, that I could have believed him capable of founding
1 Buonarroti Archives.
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110 MICHELANGELO
even without fire; nevertheless it is not that he is not a good
master, or that he has not done it with good will; but he who
fails, fails. He has failed to my loss and also to his own, for
he is so abused, that he cannot lift his eyes in Bologna. If you
see Baccio d' Agniolo read him this letter and ask him to inform
San Gallo at Rome and remember me to him: and to Giovanni
da Ricasoli and Granaccio. I believe that if the affair goes
well, in fifteen or twenty days I shall leave this and return to
Florence. If it does not go well, I shall perhaps have to do it
over again. I shall advise you of ev6ry thing. Tell me how
Giovansimone is. » *
Michelangelo did what he describes in this letter and cast the
upper part of the statue successfully, after which, Master Ber-
nardino went back to Florence, and Michelangelo besought his
brother, that when he spoke to him about it, he would look
favourably on him. The figure being cleared from the mould,
it was found to be cast as Michelangelo hoped, but it evidently
required at least a month to finish it by hand, and consequently
no little labour to the artist, who writes to his brother on the
eleventh of the following November:
« Enow that I wish that you should not soon return here, for
I live with the utmost discomfort and suffer extreme fatigue,
whilst I do nothing but work day and night; and I have suf-
fered and do suffer such fatigue, that if I had to do such another,
I do not think that life would suffice, for it has been a terrible
work, for had it been put into the hands of another, it would
have turned out ill; but I feel that the prayers of some one
have aided me and kept me in good health, for it was against
the opinion of all Bologna that I ever could finish it, after it
was cast: and at first there was no one who could believe that
4 British Museum. MSS. Michelangelo to Buonarroto.
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AND HIS WORKS 111
I should ever cast it. Enough, I have carried it out successfully,
but I shall not have finished it by the end of this month as I
hoped, but in the next I shall finish it and return home. Be
of good cheer, for anyhow I shall do what I promised. Comfort
Ludovico and Giovabsimone on my part and write to me how
Giovansimone gets on. » l
It is evident from this letter that the cast was not a good one,
that it was rough and needed the file, the chisel and chasing
tools, and that Michelangelo, who had never worked in metal
in his life, would trust it to no one but himself, but with pro-
digious fatigue and labour wrought upon the hard bronze with
his own hands ; he might permit of assistance, but he must have
chased the features and hands, and that he did much more than
this, is evident from his letter to his brother. Chiselling or
chasing a work of art in metal can only be done successfully
by an artist. That Michelangelo found no efficient assistant is
obvious, and he is here found chasing a colossal bronze statue,
which was not well cast. His prodigious energy, his fertility
of resource, his genius enabled him to do with success, that
which by other men is only done after long and continuous
labour.
His great work being finished, Michelangelo however anxious
to depart, was still detained by the commands of the Pope, who
wished him not to leave Bologna, although those in charge of
it, had not placed the statue. Before its elevation it stood for
three days within the Church, and by a letter preserved in the
Bolognese archives dated the twenty-first February 1508 we
learn that:
« This evening the statue, the portrait of His Holiness, was
drawn to the place prepared for it above the great door of the
1 BritUh Museum. MSS. Michelangelo to Boonarroto.
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112 MICHELANGELO
church of San Petronio, to see which, such a concourse of people
were assembled, that the operations of the directors of the work
were impeded. The great applause of the people, which followed
the unveiling of this excellent statue, and their rejoicings on
the occasion, testify their faith in, and devotion to His Holiness,
and desire to see him again here. It is truly wonderful and
rivals the ancient statues of Rome, and is worthy to be the
sacred effigy of his Beatitude, whom we have to thank, that
in addition to the innumerable benefits bestowed on this town,
he has adorned it with so magnificent an ornament. »
So also a manuscript ascribed to Sebastian Agucchia, dated
Bologna 21st February 1508.
« On the twenty-first of February at fifteen o'clock, the hour
4ixed as fortunate by astrological observation, the sitting bronze
portrait of Julius the second was uncovered, with the tiara
on his head, his right hand in the attitude of benediction, and
his left holding the Keys. It was placed over the door ~of
San Petronio to the sound of pipes and drums and the ringing
of bells, and in the evening there were rejoicings with fire-
works. »
In spite of astrological observation, in spite of the gratitude
of the Bolognese as described by the partizan of the Papal
conquest, in striking and terrible contrast with all these rejoic-
ings, is the record preserved in the annals of Leandro Alberti:
« Afterwards on the thirtieth December 1511 the image of
Pope Julius was cast to the ground from its place over the door
of San Petronio. The charge of this operation was given to the
Engineer Arduino, who, that it might not break the pavement
in falling, spread straw and fascines. Notwithstanding the great
mass of metal left its mark upon the stones, as may still be
seen. The partisans of the Bentivoglios, utterly indifferent to
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AND HIS WORKS
113
the merits of the statue and only hating their enemy, treated it
with every indignity accompanied by execrations and abusive
words. Afterwards the Bentivoglios sent the statue to Ferrara
to the Duke Alfonso to be made into artillery, who made of it
a great cannon, which he placed on the castle, than which I
never saw a longer or bigger piece. After some days there was
elevated to the place, which the statue had occupied, a picture
representing God the Father, and the name of Julius being
obliterated, there was substituted the inscription:
« ScrroTE quoxiam Deus ipse est Domikus. »
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Chapter VI
M n the beginning of March, 1508, Michelangelo
returned to Florence from Bologna. He estab-
lished himself on the eighth in the spacious
and convenient work-shop in the Borgo Pinti,
built under the direction of Cronaca at* the cost
of the office of Works of the Cathedral, in which it was origi-
nally intended that he should execute the statues of the twelve
Apostles to be erected in Sta Maria del Fiore.
The works which he had left in an unfinished state when he
was summoned to Bologna, were the two circular reliefs of the
Virgin and Child, the model of the David originally intended
to be presented by the Signory to the Marshal Gi£, and in all
probability the beautiful group of the Madonna and Child com-
menced at Rome, and which now adorns the city of Bruges.
The statues of the Apostles for the Cathedral were not proceeded
with, but no reason is assigned. Possibly Michelangelo disliked
to execute statues to be committed to the obscurity of the Cathe-
dral of Florence. An unfinished work of his now exists in that
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116 MCHELANGELO
church behind the high altar, where, owing to the shade in which it
rests, it cannot be appreciated. The powerfully coloured painted
windows, which were there in Michelangelo's time, as they are
now, so darken the Church, that it is quite unfitted for the exhibi-
tion of works of art; and this may have influenced him, although,
as has been already mentioned, he had commenced one statue,
St Mark, remarkable for its exaggerated action and quite unlike
any of his previous works. It may have been that he hoped by
this means to counteract the effect of the lowering of the light
by the glass. The commission for small statues for the altar
of the Piccolomini, for which an advance Jiad been made, must
also have claimed his attention, and the mural picture in the
palace of the Signory, for which he had prepared his magnifi-
cent Cartoon, was still before him.
There can be no doubt that he tried to 'realize his earnest
wish to settle in the city which he loved best, near his family
~and his devoted friends, far from the rivalries of Rome and the
malignant persecutions which embittered his existence there.
Nor is it to be overlooked that in Florence he breathed a
pure and healthy atmosphere instead ef the Malaria of Rome,
to which his letters allude, and from the effects of which
if he escaped, others whose services were needful to him,
did not.
With his mind fixed upon his return to Florence, to his family
and to his work, he lived in Bologna a life of penury and
discomfort. Hardly had he realized his purpose and settled
himself as he desired, when Pope Julius required his presence
in Rome. In striking contrast with his previous conduct, when
so summoned he at once obeyed, broke up his establishment,
again left his commissions, thus sacrificing his most cherished
purposes and hopes. He quitted Florence with saddened feelings,
for he had experience how little his own government could protect
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AND HIS WORKS 117
him, if he again attempted to disobey the mandate of the Pontiff.
Before he left Florence, his father did him an act of justice by-
emancipating him from that paternal authority and those rights
over his person and property, which the law at that time enforced.
Michelangelo was then thirty- three years old, and this is the
record which, it may he said, declared him of age. « Ludovicus
Leonardi Bonarroti de Simonis, citizen of Florence emancipated
Michaelem Angelum his legitimate son by instrument drawn up
by the hand of Ser Johannis son of Ser Marci de Romena, notary
and citizen of Florence on this day the 13th of March 1507. »
Or as now computed 1 508. x
This transaction in no way altered Michelangelo's disposition
to aid his father and family, nor did it diminish the sacrifices,
which he made on their account.
On arriving in Rome and on seeing the Pope, Michelangelo
was at once made aware that he had not been summoned to
work upon the monument, but to paint in fresco the vault of
the Sixtine Chapel in the Vatican, the sculptor remonstrated,
« painting was not his profession » to use his own words, and
he earnestly recommended' that the commission should be given
to Raffael d'Urbino. The Pope was not to be moved by the
artist's objections ; he must have known that Michelangelo had
consented to paint in the Palace of the Signory in competition
with Leonardo da Vinci, and have heard of the fame of the
Cartoon, admitted to be the must perfect work of design of the
time. Whatever the nature or the motives of Michelangelo's
objections or scruples, they gave way before the resolution of
the Pontiff, and he accepted the Commission.
1 Under the date of the 28th March 1608 the following entry occurs. Ludovicus Leo-
nardi Bonarroti de Simonis civis Florentine emancipavlt Michaelem Angelum ejus fllium
leglptbnum et naturalem per lnstrumentum Inde confectam manu Ser Johannis Ser Marci
de Romena notarii et civis Florentini sub die Martii 1507. (Florentine computation).
State Archives, Florence.
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118 MICHELANGELO
The following is the account, which at a much later period
he wrote to his friend Giovanni Francesco Fattucci , of this
transaction:
« And having returned to Rome, Pope Julius would not yet
that I should execute the sepulchre, but set me to paint the vault
of Sixtus, and made a bargain with me for three thousand ducats:
the first design for the said work was to be twelve Apostles in
the lunettes, the rest in certain compartments filled with orna-
ment in the usual manner: after having begun that work, it
seemed to me that it would prove a poor thing, and I said to
the Pope that to represent the Apostles only it would prove a
poor thing; he asked me why: I said to him, because they were
poor also. Then he gave me a new commission that I should
do what I pleased, and that he would satisfy me, and that I
should also paint the histories below. »
When it was determined that Michelangelo should paint the
vault, the architect Bramante was instructed by the Pope to
erect the requisite scaffold. He did so without consulting the
artist, and suspended the floor by ropes, which he passed through
holes, which he made in the vault. Upon seeing this contrivance,
Michelangelo asked him how he should fill up those holes, when
he had painted the frescos and pointed out generally the unsuit-
ableness of the scaffold for its purpose. Bramante, who exhibited
both incapacity and a bad temper, refused to allow any alteration,
and Michelangelo was obliged to make a personal application
to the Pope, who authorized him to erect a new scaffold. It
was then that he for the first time showed his constructive ability,
and no doubt derived advantage from the study and remarkable
drawing, which, with precocious force of intelligence and ob-
servation, he made in Sta Maria Novella, when an apprentice
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AND HIS WOBKS 119
in the service of Domenico and David Ghirlandaio. The scaffold,
which he erected with so much skill, became a model for architects,
whilst the rope materials of that which he took down, being sold,
provided a dowry for the contractor's daughter. 1
It has been supposed by a modern writer that this scaffold
was the original of the movable wooden towers used in St Peters,
but this cannot be the case. Michelangelo required a complete
deck the size of the chapel, about which he could move freely,
and as the windows were below its level, he had to provide for
the free passage of light, and for the temporary removal of part
of the deck to allow him to examine his work from the Chapel
floor. On this deck he must have placed portable scaffolds
of different altitudes to enable him to reach the surface of the
vault which rises above the cornice with unequal curvature.
The erection of these scaffolds, including the taking down of
that of Bramante, must have taken some time; it is apparent that
great expedition was used, for the plastering of the vault was
commenced probably about the beginning of May, and Michel-
angelo had arrived in Rome at the end of March or the beginning
of April.
As the plastering could not be executed without a scaffold,
that erected by Michelangelo must have been used, the first
payment for plastering having been made by him on the 11th
of May 1508. This date is of importance, as it has been gen-
erally assumed that Michelangelo began to paint in the Sixtine
Chapel on the 10th of May.
The following is an abbreviated translation of Vasari's pictu-
resque account of Michelangelo's proceedings, which has usually
1 Archivio Storieo Italiano. Third Series, V. vi, p. 187. « Julius II, 18 Oet , 1506 :
DominicoManinl florentino pro nonnullis cordis ex canapatio per earn datls sacrist* capelle
sacri palatii fl 2. 6. 9 » (Notes of art from the secret Archives of the Vatican).
The extraordinary rapidity with which the scaffold erected was taken down and that
of Michelangelo pat up in its place, suggests that Michelangelo may have arrested the
progress of that of Bramante, but the great quantity of rope used refutes this supposition.
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120 MICHELANGELO
been followed by other Biographers. Haying related the story
of the two [scaffolds, he then makes the following statement.
« Michelangelo began to make the cartoons for the vault, and,
excited by the greatness of the enterprize, he resolved to secure
assistance, and having commenced and finished the cartoons,
and wishing these to be coloured in fresco, and not having
painted in that way, there came from Florence certain friends
of his, artists, who might assist him, and that he might observe
their manner of working in fresco, in which some of them were
experienced, amongst whom were il Granaccio, Giuliano Bu-
giardini, l'lndaco vecchio, Agnolo di Donnino and Aristotile,
and making a beginning of the work, he caused them to execute
some things as specimens. But finding their work far from his
wishes, and not being satisfied, one morning he resolved to break
it all down, and, shutting himself up in the Chapel, he would
not let them in, nor would he see them even in his house. So
they left and returned to Florence, and Michelangelo undertook
to execute that work alone. » In a note appended to this ac-
count of Vasari's, the Editors of the Le Monnier's excellent
edition observe. « Michelangelo began the paintings of the vault
of the CappellaSistina on the 10th of May 1508, as he has himself
written. »
It is now certain that Michelangelo went to Rome at the end
of March orlhe beginning of April, and if the above history and
the comment made upon it be accurate, then one scaffold one
hundred and thirty feet long, forty -five feet wide, and fifty feet
above the pavement must have been erected, taken down again
and replaced by another of similar proportions, two general
designs must have been made for the Pope's inspection and judg-
ment, cartoons prepared, as described by Vasari, an important
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AND HIS WORKS 121
negotiation entered into with Florentine artists and completed,
and those artists brought to Rome. A commencement of fresco
painting made by them in the Chapel, their tentative work
destroyed and Michelangelo's famous solitary enterprize entered
upon on the tenth of May, about six weeks after his arrival
in Rome ! In addition, it is now also known that the « arriccia-
tura» that is to say the rough casting or preparatory coat of
plaster, always laid before the finishing coat, was not in existence
and was only begun after the second scaffold was erected. It
is a well known principle in plastering that this rough coat
must be thoroughly dry before the finishing coat is applied; not
less than a month is usual in Italy, although in the hot season
on an emergency, this might be abbreviated to one half the time.
The following is the note under Michelangelo's hand, which
is trusted to, for the theory of his commencement of his interesting
work in the Sixtine on the 10th of May.
< I make entry that this day the tenth of May, one thousand
five hundred and eight, I, Michelagnelo Sculptor, have received
from His Holiness Pope Julius, five hundred ducats full weight,
the which were paid to me by Messer Charlino Chamberlain
and Messer Carlo degli Albizzi, on account of the painting of
the vault of the Chapel of Pope Sixtus, for which I begin to
day to work, with these conditions and agreements, as set forth
in a deed written by the most Reverend Monsignor di Pavia
signed by my hand. » l
It is assumed that the expression « for which I begin this
day to work » means, that Michelangelo began to paint in the
Sixtine, but he used a still stronger expression in his letter to
Fattucci regarding the first design for the twelve Apostles « after
• Memorle di Belle arti, Ctualandi V. u, p. 154.
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122 MICHELANGELO
having begun that work, it appeared to me a poor thing. » * It
seems obvious that in both expressions he alludes to the prepa-
ration of designs, and in his memorandum of the 10th May, not
only the preparation of designs, but the multifarious business
arrangements which preceded his great undertaking, such as
the preparation of working drawings, the engagement of assis-
tants, the purchase of colours, the first plastering of the vault
not yet raugh coated. Thus we find him writing to Florence
on the 13th of May for certain blues, which he required.
« Frate Iacopo. I, being about to cause to be painted certain
things here or to paint them, it occurs to me to let you know
that I have need of a certain quantity of beautiful blues, and
if you can serve me through your Brethren here with the quan-
tity which you have, of fine quality and at a just price, before
taking it I will pay you here or there as you prefer. » 2
The thirteemth day of May 1508.
Yours
MlCHELAGNIOLO
Sculptor Borne.
To Fra Jacopo Gesuato
Florence.
This letter written on the thirteenth describes the painting
as yet being in the future, distinctly alludes to assistance, and
to his personal intention of painting also.
The next important document bearing on this subject is a
series of receipts written on one sheet of paper by Piero di Ia-
copo Roselli, Master mason, ^employed to plaster the Vault of
the Sixtine. The first is thus expressed :
1 Buonarroti Archives.
* Buonarroti Archives.
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AND HIS WORKS 123
f In the name of God the 11th day of May 1508.
< I, Piero di Iacopo Roselli, Master mason, have this day
received, the 11th of May as above said, from Michelangelo Bo-
naroti Sculptor ten ducats in gold full weight, on account of
scialbatura on the vault of Pope Sixtus, and for rough plaster-
ing in the Chapel and doing that which was needful by order
of Pope Julius, and in faith of the truth I have done this with
my own hand this day above said. * Ducats 10 of gold full
weight, »
It has been somewhat hastily assumed that because « scialba-
tura » means also « intonaco » or finishing coat for painting
upon, that consequently this account shows that it was laid for
the use of Michelangelo. As however in the month of May in-
tonaco could only be laid with safety over rough coat after
fifteen days drying, the word must mean something else, and
as it also means pointing or filling the joints between the bricks
before plastering, its presence in the account is easily under-
stood and has nothing whatever to do with the finishing coat.
Being mentioned only once in the account, it shows that the
whole vault was pointed before it was rough plastered, so that
it may be inferred, that by this time or before the tenth of May
the whole of Michelangelo's scaffold was up, showing great ex-
pedition, and that no time was lost.
Michelangelo had signed his contract, and had been put in
funds the day before. He then began to work for the Chapel,
and his first payment was to Roselli for rough plastering pre-
viously ordered by the Pope. As it was not the least likely
that he would commit himself to artist assistants before his
contract was signed, he must have sent for them after the tenth
of May. In Roselli's receipts we find that the first payment
' Buonarroti Archives.
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124 MICHELANGELO
was made by Michelangelo himself. The second for fifteen
ducats was made on the 24th of May by « Francesco Granacci*
one of the artist assistants, and who therefore was in Rome at
this date and in the service of Michelangelo. The next payment
of ten ducats was likewise made by Granacci on the third of
June, l and a further payment was made by him on the 10th, of
another instalment of ten ducats.
On the 17th of July the payment of the usual ten ducats was
made by Michelangelo in person. The inference is that Gra-
nacci had left Rome by that time. On the 27th July, Michel-
angelo finally paid to Roselli for rough plastering (all the bills
except the first are exclusively for this process) thirty golden
ducats full weight, which sum included also some other expen-
ses. The amount paid and the time occupied show that this
plastering included the whole vault.
Francisco Granacci, Michelangelo's old friend, had evidently
been summoned to Rome to assist and to consult, and after the
third of June he returned to Florence to engage assistants.
This seems to be the only interpretation, which can be put upon
the following letters. They are ill written, literally unintelligi-
ble in parts but their gist is rendered.
The first is dated the twenty-second of July 1508, and is
descriptive of Granacci's transactions with artists willing to as-
sist in the Sixtine.
« Very dear friend. I recommend myself and wish you in-
finite health. This is to your excellency, as to day I met Raf-
1 The Plasterers must have commenced operations so soon, as enough of Michelangelo's
scaffold was ready to allow them to do so. By the above receipts it may he observed
that they could plaster enough of the vault to be entitled to a payment of ten ducats in
from seven to ten days. Consequently Bramante's Scaffold must have been put up and
taken down and at least part of Michelangelo's erected in the month of April, as Roselli
received ten ducats for that value of plastering on the 11th of May. It is quite obvious
that with such operations in progress, Plasterers, Labourers, Carpenters at work, ma-
terials being brought in and the confusion noise and dust usual, Michelangelo could not
shut himself up alone to paint on the 10th May.
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AND HIS WORKS 125
faelino the painter, and gathered from him in fine, that if you
have need of him he will come at your bidding, should you be
pleased to pay him the salary, which he has received from the
Master Pietro Matteo d1 Amelia, who he says gave him ten du-
cats a month. Ever faithful to your excellency, I give this
advice as from myself. If you have need to employ him, offer
him your amount of salary, he is ready to do what you may
command as to work. He is a good Master and honest.
And if for me, there is anything, advise me, for I am always
here to do for you those things, which are useful and honour-
able.... If I can do more one thing than another let me know,
I will do it with love and solicitude. Nothing more. Christ
have you in his keeping. Bene valete. »
This day 22d of July 1508.
.Yours
/ Francesco Granacci.
« If you can employ me as above is said, I shall be willing
to be with you. Nothing more. *
Giovanni Michi
San Lorenzo Florence
(Faithful service and honett man).
Directed to the Excellent Master
Michelagnolo, Florentine. At
St Peters, Sculptor
Rome.1
Given from the Bank of Baldassarre Baldncci in Campo di Fiore.
In this letter towards the end of July two artists offer their
services, Raffaellino del Garbo and Giovanni Michi, neither of
whom was employed. The next letter is dated 24th July 1508.
1 Buonarroti Archives.
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126 MICHELANGELO
« Very dear friend. As was said in the letter, I delayed so
long in sending it, believing that your Pietro Basso would come,
as he said, by monday at the farthest: for Saturday, I was not
in time to give him the letter, and I write to you again this
morning monday, because I know not what your father has
written. I know that I have made an error, and in this mat-
ter I do not wish to err further. Any how I did not go with
any one for money, nor did I intend to go but at the proper
time, as probably Ludovico might believe that I would take it.
I know that he was troubled about it, for he believed that
we should mount on horses immediately, but they say that they
must settle their affairs first, and it is impossible to start so
soon and the time of payment is fixed for Easter. Chiefly
Giuliano (H Buggiardini) and Jacopo (L'Indaco) wish to be
paid in advance, and to have a pledge and security for their
work. It would please Jacopo to know what addition will be
made to his salary, as he could not speak of it with you. And
I showed him your letter, which I should trust to, without
payment. He said that he had sometimes to combat with agents,
who exacted more than their employer. > The retort of Granacci
is not intelligible, but appears to be of no consequence. «I have
not spoken with others, but it seems to me that Agniolo di Don-
nino is praised for his frescos. If you have- need of anything,
let me know. I shall do nothing till I have your reply, and in
the mean time I may learn something. I would any how start
should I go alone with Bastiano (da Sangallo), nothing else- occurs
to me ; done since two days. God preserve you. »
Yours
Francesco Granacci
in Florence. *
1 Buonarroti Archives.
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AND HIS WORKS 127
This is as near as possible to the sense of Ghranacci's letter;
by it and by the previous letter it is made evident that the
artists to be employed as assistants in the Sixtine, instead of
being in Rome the end of April or beginning of May, were still
in Florence towards the end of July, and some of them were
haggling over terms with Qranacci, whose difficulties were pro-
bably settled by Michelangelo himself, for there can be no doubt
that he was in Florence in August, as is thus recorded by a
document preserved in the national archives, to the following
effect:
1 «In the year of our Lord 1508 on the 11th day of August
Michelangelo th£ son of Ludovico Lionardo di Bonarroto can-
celled his lawful claim upon the estate of his uncle Francis by
a deed drawn up by Ser Giovanni di Guasparre da Montevar-
chi* Florentine notary, on the 27th of the month of July 1508. »8
Upon Michelangelo's return to Rome, he prepared, and it is
to be presumed, forwarded to Florence, a contract with the ar-
tists to be employed, of which the following although fragmentary,
is very explicit : •
< Under these conditions, when they shall be here and shall
be in agreement with us, the said twenty ducats each, which
they shall have received, shall go to account of salary; the said
salary beginning from the day on which they shall leave Flo-
1 Archives of the State Florence. Book of renunciations from 1504 to 1508 folio 157
on the reverse. Anno Domini 1508 die xi mensis August!. MlcheUngelus Ladovici Lio-
nardi de Bonmrrotis repudlarit haereditatem Francisci ejus patrui per instrumentum Inde
eonfectum Ser Johannls Ouasparis de HontevarchU notarii Florentlnl sub die 27 mensis
Ju'tt 1508.
* Father of the celebrated historian Benedetto Varchi.
» This document was certainly executed In Florence by Michelangelo in person. I
obtained legal opinions on this point It seemed so important.
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128 MICHELANGELO
rence to come here. And should they not be in accord with
us, one half of the said money shall be theirs for their expenses
in coming here and for time. »
This document evidently was written in Rome in all probability
in August. It is reasonable to suppose that the assistants pro-
ceded at once to Rome, and commenced painting in the Sixtine
towards the end of that month or the beginning of September.
From documents it appears that when in Florence Michel-
angelo had with his usual kindness and generosity made arrange-
' ments for the benefit of his brothers, which were met upon their
part, as was too frequently the case, with ingratitude. Thus at
the commencement of the painting of the vault of the Sixtine
the mind of the great artist was disturbed, and his peace invaded
by the dissensions which occurred in his family, of which he
received an account from his father, to whom he wrote in August:
< Revered father, I have learnt by your last the state of affairs
with you, and how Giovansimone behaves himself. I have not
received worse news for ten years, than those contained in your
letter. I thought, that I had arranged their affairs so, that
with my aid they had reason to hope they would make a good
business.... now I see that they act otherwise, especially Giovan-
simone, and that it is vain to try to do him good. Had it been
possible on the day when I received your letter, I should have
mounted on horseback, and by this time should have settled
everything. But not being able to do this, I write such a letter
to him as appears to me necessary, and if from this time he
does not change his nature, or if he takes from the house so
much as a withered twig or does anything to displease you, let
me know and I shall obtain the Pope's permission to visit Flo-
rence, when I will show him his error.
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AND HIS WORKS 129
You may feel assured that all the labour which I have
endured, has been more for your sake than for my ownj and
the property which I have purchased, has been for you, whilst
you live. Had you not been living, I should not have bought it.
Therefore if it please you to let the house or the farm, do
so; and with the income and with what I shall give you, you
will live like a gentleman. I would say come and live with
me here, were it not the summer; here in summer you would
not live long. It has occurred to me to take from him (Giovan-
simone) the money, which he has on the shop, and to give it to
Gismondo, so that he and Buonarroto may get on together as
well as they can »
Yours
MlCHELAGNIOLO
Rome. 1
The rest of the letter refers further to family affairs of little
interest now, except that they disquieted Michelangelo. His
letter to his brother Giovansimone, to which he refers, is emi-
nently characteristic.
Borne August 1506.
« Giovansimone, it is said that whoever benefits a good man,
makes him better ; but to benefit a bad man, is to make him worse.
I have tried now for some years with good words and deeds to
induce thee to live in peace with my father and with us, and
thou becomest altogether worse. I do not say to thee thou art
a bad fellow, but thou art such that thou greatly displeasest me,
and the others. I could say much to thee as to thy conduct,
but this would seem mere words to thee, like other advice given
thee. To be brief then, I tell thee that thou art nothing in the
* Buonarroti MSS. British Museum.
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130 MICHELANGELO
world. Thy house room and expenses I give thee and have
given* thee for long for the love of God, thinking thee to be my
brother like the others; now I am certain that thou art no brother
of mine, for if thou wert, thou wouldst not menace my father.
Thus thou art a brute and as a brute I will treat thee. Know
that any one who menaces or strikes his father is held to risk his
life. Enough — I tell thee that thou hast nothing in this world,
and if I hear even the smallest instance of thy misconduct, I shall
come by post to Florence and show thee thine error, and teach
thee what it costs to destroy thy things or to set fire to houses
or farms; if I come, I will show thee that, which shall make thee
weep with burning tears, and thou shalt learn on what thou hast
set thy pride. I have yet this once more to say to thee, that, if
thou triest to do well and to honour and revere thy father, I will
aid thee like the others, and will provide for thee in good time
a place of business; but if thou dost not, then shall I be there
and shall so settle thine affairs, that thou shalt better know
what thou art than thou hast ever done before, and thou shalt
know what thou really hast wherever thou goest. I say no more,
what is wanting in words I will supply with deeds. »
MlCHELAGNIOLO
in Rome.
« I cannot do less than add two sentences and these are, that
I have not wandered about all Italy, nor borne every mortifi-
cation, suffered hardship, lacerated my body with hard labour,
placed my life on a thousand dangers, but to aid my family,
and now that I have begun to raise it somewhat, thou alone art
that one to embroil and ruin in an hour that, which I have
laboured so many years to do, by the Body of Christ, but it shall
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AND HIS WORKS 131
be found true, that I Bhall confound ten thousand such as thou
art if it be needful, be wise and tempt not one who has already
too much to bear. »
This outburst places Michelangelo before us in all the grandeur
of his character. It explains the motives for his extraordinary
self denial. It shows what were his own feelings regarding his
absence from his native state, and his sense of what he was
called upon to endure in Rome, yet if at this period of his life
his heart turned with longings towards his beloved Florence,
he was destined to experience disappointment there also, and
that his life might be embittered by hostile rivalries in the latter,
as in the former city.
These letters and many others show what the artist was called
upon to endure whilst engaged upon the frescos of the Sixtine,
his eloquent and burning words describe his sufferings, but these
wonderful creations are the best evidence that his genius rose
above his sorrows.
Riverting to Vasari's history, his statement, which was sup-
ported by his own experience, that Michelangelo « commenced
and finished his Cartoons » the first important operation required
for commencing the work, is brought within the bounds of
possibility. The great artist had time between the tenth of
May, when « he began to work » and the month of August to
make the requisite preparations for an undertaking, of which,
as the same author justly states, he fully estimated the importance
and grandeur, resolving to make it one of the most perfect works"
of painting ever executed.
As Michelangelo intended to employ assistants, it was needful
to prepare designs and working drawings for them to work from
in the usual manner. A modern master in the same position
would also provide coloured studies for the guidance of his as-
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132 MICHELANGELO
sistants. This does not appear to have been common amongst
the great masters of the sixteenth century; no such coloured
sketches remain, although Cartoons have been preserved. Mi-
chelangelo provided sketches executed in chalk showing the
chiaroscuro, and full sized outlines for transfer to the vault,
and he must have trusted to verbal instructions for the colour,
and to his own example. He had also to prepare and lay off
the general plan of the architectural division of the vault in
conformity with his design, this frame work must have been
designed and drawn to scale, and marked off upon the vault
before the painting could be commenced. The completed work
shows how great were the pains which were taken, how accu-
rate the calculations and measurements must have been, before
the scheme was matured. The more the vault and its paintings
are studied, the more the real marvels of their history will be
appreciated and distinguished from the paltry legends of the
biographers.
Michelangelo's plan of assistance failed. He had not like
Raffael, formed a school, for he had not the opportunity of doing
so, « painting not being his profession.* Thus instead of a body
of pupils trained to design and paint in harmony with his ideas
and style, he brought together fortuitously several artists, nearly
of his own age, one of whom was as old if not older and educated
in the primitive school, from the principles and practice of
which his powerful and original genius had broken, and from
which he was entirely separated. He requested these artists
to colour from his cartoons, which he had carefully prepared,
and he must have seen at a glance, on the very first day of the
experiment, that in the nature of things it could not succeed.
They might be skilful frescanti and good artists, but their styles
were diverse, and essentially discordant with his own. Any
hope of harmonious and combined work must have been seen
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AND HIS WOBKS 133
at once to be vain. Indeed they must have seen it themselves,
as they looked on the grand style of the sketches and cartoons
of Michelangelo, which, when painted by himself and exhibited
a few months afterwards, were destined to effect such changes
in art and even to revolutionize the ideas of Raffael d' Urbino.
They doubtless entered upon their assigned tasks with timidity
and soon understood that they could not pretend to vie with or
satisfy the mighty intellect which had produced the designs before
them, so far beyond the art of the time, or any thing which they
could have supposed possible.
There can have been no occasion to shut the door against
them or to treat them with any indignity. The conduct imputed
to Michelangelo is inconsistent with that gentleness and consid-
eration for others, which formed so great a part of his character.
He was keen in rivalry, subject to violent gusts of passion and
then acted and expressed himself intemperately, there was no
cause now, and he had provided for the possibility of failure
of the plan as shewn in the memorandum already quoted, and
he probably desired Granacci, to settle with his friends, to pay
them the ten ducats due to each, or any balance of it owing
and doubtless dismissed them with courtesy. He then girded
himself for his great task. It was in an exceptional sense only,
that it has been said that he painted alone and unaided. It
cannot be true, for in fresco painting on such a scale, solitary
work is a practical impossibility. But this will be considered
further on in this chapter.
Every detail relating to the execution of the greatest work
of painting in the world has been thought of interest since the
time of its execution, but it is strange, not that so many anecdotes
have been disseminated regarding Michelangelo's operations,
but that so little pains should have been taken to verify them,
when it was comparatively easy to have done so. A desire
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184 MICHELANGELO
was manifested to give a marvellous recital of the circumstances
attending the commencement and progress of the work, and
above all of the solitariness of the artist and his refusal of all
aid, even in practical processes and services involving a needless
waste of time and exertion. Some of the anecdotes are calculated
rather to diminish, than to enhance his fame, and sacrifice his
character for dignity and good sense. His fame rests upon the
work itself divested of fictitious elements with which its history
has been surrounded. The stories for instance, that he ground
his own colours and prepared the lime to paint upon, although
so often repeated, are manifestly absurd. He required hundred
weights of colour and lime to cover more than ten thousand
square feet of surface. How could he possibly prepare the
quantity required, alone and unaided. These stories are an
insult to his memory. In it will be found a history far more
marvellous, than any which has been written, but whilst the
great artist's proceedings and reputation have been veiled under
idle tales by his first biographers, since so frequently repeated,
his greatest work is also veiled by the barbarous neglect and
maltreatment to which it has been exposed, and it is now seen
from the floor of the chapel so imperfectly, that his purposes in
the design and his execution of it cannot be properly appreciated.
This is possible, only by close observation of the frescos from a
position as elevated as the scaffold erected by Michelangelo.
Under very favourable circumstances such an examination has
been made of a portion of the vault, and the interest which this
great work of genius has excited for centuries, and how excites
perhaps more than ever, may it is hoped, be an excuse for
giving the results of the examination with some minuteness of
detail.
Fresco paintings, when closely and accurately examined, reveal
not only the methodical procedure of the artist, but also the
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AND HIS WORKS 136
preparatory steps taken before commencing to paint. A close
inspection of the vault not only shows what was the nature of
the preparations which were made by Michelangelo, but also that
notwithstanding the fact that it was his first work, no signs of
inexperience can be detected and that it is as prefect in technical
execution, as it is great in design.
The famous Sixtine Chapel is internally an oblong space mea-
suring one hundred and thirty- one feet six inches in length,
forty- five feet two and a half inches wide at the east end, that
of the entrance from its vestibule the Sala Reggia, and forty -
three feet two and a half inches at the other extremity, where
the altar is placed. It is lighted by six round headed tall
windows on each side, placed on a line of about thirty feet from
the ground, and the lateral walls are each divided into six round
headed spaces by three tiers of pilasters, which however are only
painted, but have moulded capitals, their surfaces being decorated
with Candelabra in chiaroscuro with gold grounds. Between
the pilasters of the first tier the walls are coloured to represent
alternately cloth of gold and cloth of silver hangings embroidered
with the arms of Sixtus the IV, from whom the Chapel takes
its name. Here upon the occasion of great church ceremonies
the tapestries designed by Raffael were suspended. Between
the pilasters of the second tier are the interesting frescos of
scripture subjects, by Luca Signorelli, Domenico Ghirlandaio,
Pietro Perugino, Sandro Botticelli and Cosimo Roselli, and at
the door end, two by followers of Michelangelo, Enrico Fiam-
mingo and Matteo da Leve from his designs. The west end is
occupied by the fresco of the « Last Judgment » painted by
Michelangelo in the reign of Paul III. On the third tier are
the windows, on the spaces between which, Popes in full pon-
tificals, are represented standing in niches. From the centres
'of these piers, the pendentives of the vaulted ceiling spring from
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136 MICHELANGELO
corbels, five on each side and one at each end with round headed
spaces between, united with the pendentives by tympanums
forming triangular and horizontal curved spaces.
The first and third tiers are crowned by moulded string
courses, and the second by a narrow cornice of travertine pro-
jecting about fifteen inches from the wall. The vault has not
been well constructed, its curves are irregular and the sectional
lines viewed close to it are wavy, but this is not seen from the
floor.
This vault with its pendentives and the lunettes between, form
the field of Michelangelo's work. To understand the nature of
his intentions, the architectural and decorative design may be
considered apart from the figures placed in front of it. It re-
presents a white marble edifice, the same form as the arched
ceiling, pierced with nine rectangular openings, divided by bands
of white marble, which spring from a richly moulded cornice,
drawn and painted parallel to the sides and ends of the Chapel,
at a short distance above the entering angles of the tympanums
of the lunettes.
This cornice is supported by projecting piers represented in
perspective, two in each pendentive, and each composed of a
pedestal supporting two children, which carry the cornice on
their heads, over which it breaks and projects also in perspec-
tive, the vanishing points of each pair, being within the central
vertical line of the pendentive. A very beautiful architectural
composition is the result of this skilful arrangement. The piers
form niches, within which are white marble thrones placed on
ledges supported by corbels. As the open panels, already ad-
verted to above the cornice, are wider over the windows than
they are over the thrones, these last are diminished in length
by an attic on each side, whilst the larger panels touch the cor-
nices at both extremities, and their area is four times that of the
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AND HIS WORKS 137
smaller openings. The angles of the pendentives and the tops
of the lunettes and windows are painted with archivolt mould-
ings, completing the design. The mouldings of the cornice are
without decoration of any kind, but those of the tympanums
are ornamented with acorns, in allusion to the heraldic bear
ings of the Delia Rovere, and with shells alternating with the
acorns.
The selection of subjects to be painted in the compartments
of this architectural composition 1 was left to the unfettered
judgment of Michelangelo, and they will be described further
on under the heads of his design and colour. Having at last
accepted the commission, how grandly characteristic it is of his
genius, that he should at once have condemned the simple plan
of decoration at first proposed by the Pontiff, much of which
might have been painted for him by ornamentists, and that in
so short a time, apparently in a few days or a week, he should
have produced a design of so complicated a nature, and present-
ing so many difficulties in its execution. The entire composition
contains three hundred and forty- three figures, varying in their
proportions, infinite in invention, full of life and of movement.
The vault is alive with figures of mighty beings the offspring
of the exhaustless and noble inspiration of Michelangelo. They
show how little his enemies comprehended him or were able to
estimate his powers, when they urged that he should be employed
as a painter, that they might witness his failure as they fondly
hoped.
A careful examination of the frescos, shows that Michelangelo
adhered throughout to his sketch. Unhappily it is lost, but it
is easy to see that it sprang from his brain complete in every
part. He cast his sorrow and his disappointment behind him,
and seems to have determined that as his mallet and chisel had
1 See hi* letter to G. F. Fattueel *Iree4y quoted Buonarroti Archives.
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138 MICHELANGELO
been forcibly laid aside, he would do more in painting than
had ever been done before, and excel all painters in the variety
and invention of his work.
It is not to be understood that within that busy and agitating
time, when he prepared to paint the Sixtine, and was so variously
occupied, that in his first sketch he drew every figure and group
as we now see them painted. But as in the sketch of the monu-
ment of Julius, every part of his subject was present to his
mind, he indicated his general idea, placed groups and figures
where he intended them to be in the finished work, shadowed
forth the entire composition and from that first creation he never
swerved. As the work went on, he designed all his subjects
and figures with all their details, and finally gave them the forms,
which we see.
In estimating the amount of labour which Michelangelo con-
templated when he suggested a richer design, the proportions
of the figures which he painted, ought to be considered. Those
in the uppermost part of the vault measure from ten to twelve
feet in height, with certain exceptions. The Prophets and Sybils
would be nearly eighteen feet if erect, and the ancestors of our
Lord in the lunettes are colossal. These proportions increased
his difficulties and his labour, but he himself fixed them. In
contemplating these great works, it is well to recall the artist's
emphatic statement, that painting was not his profession. He
had executed one small picture, when in the school of Ghirlan-
daio, when a mere boy. As a paid apprentice he assisted on
the scaffold in Sta Maria Novella, but his personal work, being
so young, must have been limited to enlarging drawings, grinding
colours and such service as was expected from apprentice pupils.
As he saw daily the processes of fresco painting, no doubt he
became familiar with all the routine of work. It cannot however
be shewn by any documentary evidence that he painted one
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AND HIS WORKS 139
picture after he entered the Academy of Lorenzo the Magnificent
to study Bculpture, till he executed the oil painting of the Holy
Family, now in the Tribune of the Florence Gallery.
His life hitherto has shown how completely his time Was oc-
cupied by commissions for statues, which were so numerous that
he has left some unfinished, whilst others were not begun. Till
he painted in the Sixtine, his history is that of a sculptor, varied
only by his picture for Angelo Doni and his grand Cartoon for
the Signory of Florence. The story of the Cartoon made in Rome
for a picture of St Francis, shows how little he was disposed to
paint, but how readily he made designs for painters. His plea,
that painting was not his profession, was just and consistent.
From sketches which remain by his hand, he first embodied
his ideas on paper in figures on a very small scale; he appears
to have made most of these in red or black chalk. He then
summoned his model, and made a drawing from nature, in which
the figure was in some cases about a foot in height, at other
times larger. Some of these drawings are not much more than
outlined, others are shaded and highly finished. Armenini as
quoted by W. Ottley states, that he saw Michelangelo make a
chalk drawing from a living model in half an hour, which would
have occupied most artists a month. There may be some ex-
aggeration here, but there can be no question of Michelangelo's
marvellous powers of rapid work. It would appear from his
sketches of draped figures, as well as from the finished paintings,
that he provided costumes for his models. There are many slight
details and accidents of fold, which must have been imitated
from the reality.
His next process was to prepare his Cartoon or full sized
working drawing, and a close examination of the frescos has
placed it beyond doubt, that he used such Cartoons. It is a great
loss to art that these have disappeared. Some, prepared at a
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140 MICHELANGELO
later period of his life for the frescos of the Pauline Chapel, are
preserved at Naples and are said to be slightly executed. But
this probably was not the case with those drawn for the Sixtine
Chapel in the vigour of his age. They may not have been ela-
borated like that famous cartoon for the palace of the Signory
at Florence, but doubtless they were noble drawings.
Artists most frequently transferred the outline of the Cartoon
to the wet and yielding surface of the plaster by placing the
former upon the latter, and then firmly passing over its lines with
a point or stylus, which indented the plaster through the paper.
Michelangelo preferred the process which is called pouncing.
This can be seen in his frescos, and the small holes necessary
to the operation are found in the Cartoons at Naples. The
cartoons were nailed to the wall during the process, the nail
holes are observable in the fresco of the « last Judgment » and
in that of Ezekiel in one of the pendentives of the ceiling, an
original nail still remains in its place close to this figure.
Michelangelo's motive for avoiding the more usual method of
pressing in the outline with the stylus through the paper is
quite evident, he disliked the disturbance of the surface which
it involves, which was inconsistent with his ideas of refinement of
execution. But he did not therefore altogether reject the use
of this instrument. When the outline was pounced, he appears
to have passed round it with a point as sharp as a pen knife,
so fine is the cut, and it is easily distinguished from the line
pressed through paper for, besides its sharpness, the instru-
ment has frequently broken out a morsel of lime, where the
hand has stopped. He did not draw in the features in this
manner, but marked in the muscles in the beautiful figure of
Adam 1 and possibly in others. Evidently he varied his practice,
1 See Drawing, the marks made by the stylos are Indicated by fine dotted lines. The
more coarsely dotted lines round the outline Indicate the Joinings In the plaster marking
each days work.
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AND HIS WORKS 141
sometimes using it, sometimes omitting it. l Drapery he gene-
rally marked in with the point in very rapid sweeps and sometimes
adhered to these lines, at others not.
Other great Masters of the art of fresco painting have been
satisfied with very imperfect outlines, on which they painted
beautiful figures perfectly drawn; what they could do, Michel-
angelo could do better. So far as could be observed, the groups
of children on the piers have been painted without any outline
at all, a single guiding perpendicular line ruled between them
on the wet plaster sufficed to enable him to paint them at once
in their places without other preparation. *
The architecture is outlined with the stylus and the lines are
often carried over part of the figures. This is common in old
frescos. It shows that subject and background were painted
simultaneously, and this is very evident in Michelangelo's work,
for he often cut the plaster away from his finished day's painting
at some distance from the outline of the figure. Thus he avoided
hardness of contour. The lesson is an important one, especially
to modern fresco painters.
The plaster upon which he painted was brought to a very even
and polished surface. Unfortunately there are many chips in
it now, by which it is seen that it is pure white. It must therefore
be composed of Roman lime and marble dust, as no sand would
give so beautiful a surface, or show so white a substance where
it is broken. It is evident that the plasterer employed was perfect
in his business, for, besides the smoothness and admirable level
of the intonaco, the points, which mark each day's work, are so
fine that they can rarely be traced. The plaster at the present
* Although it may be to anticipate, it may be here itated that although Michelangelo
adhered to his usual system of outline in the fresco of the Last Judgment, still there are
a few figures in that picture in which he has departed from it and used the stylus
combined with the Cartoon, but these are quite exceptional.
* Such was the appearance of those near which the scaffold was placed, but although
it is likely that such was his general practice throughout, it cannot be asserted of those
not closely examined.
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142 MICHELANGELO
time is hard and sound, except where it is torn into fissures by
movements in the masonry, arising from obviously defective
construction and possibly, partly from slight shocks of earth-
quake, which at rare intervals are felt at Rome.
From these mechanical details of Michelangelo's work, and
from his preparations for outline, and his method of transferring
the outline to the plaster, the transition to his manner of designing
is natural. It is necessary to enter even upon mechanical details
derived from close observation of his frescos, to show the con-
scientious nature of his procedure, and the prodigious amount
of labour which he so courageously faced and carried out. The
marvels of the reality of his labour far exceed those invented
by his biographers.
No artist has suffered more from misrepresentations of his
design by imitators, copyists and engravers, than Michelangelo.
It has been presented to the world in many forms, which miss
his beauties and exaggerate what are believed to be his defects.
His art is based upon a close observation of nature. As the
most accurate and scientific draughtsman who ever exsisted, so
far as our knowledge and means of judgment go, he was in all
his representations of the human frame, of whichever sex or age,
intensely real, and he had a high sense of beauty of form, which
he embodied with the purest taste. He obviously admired the
evidence of might and power, and seems to have selected by
preference models in which these attributes were present. His
capacity to simulate motion excels that of all artists.
The figures which he drew, were instinct with life. Whatever
the action, however difficult it might be in position or fore-
shortening, he preferred the most difficult, and he never faltered,
nor failed to represent it with living force and truth.
He was a great master of expression, especially of a grand
or noble character. In the figure of the Creator, power, bene-
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AND HIS WORKS 143
volence, intellect and goodness are united with superhuman
beauty. It is infinitely the noblest idea of God, which ever
emanated from art. This is particularly felt when standing
within a few feet of that wonderful fresco, the creation of Adam.
Prophets never were represented in forms of more dignity, and
the Sybils are worthy to sit on thrones beside them. The angels
near them are infinitely beautiful and spiritual. It is remarkable
that in all the compositions they are represented as very young;
apparently however they have been designed in this manner to
preserve the preeminence of the principal figure, which could
not properly be interfered with. It is felt how conscious the
mind of Michelangelo was of the inspiration, the holiness, the
faith of the beings whom he has represented. l
His powers of design are marvellously illustrated in the subjects
painted in the panels of the arch of the vault. When these are
seen in detail from a distance of a few feet, the real object of
the artist is perceived, although obscured by the veil of dust, soot
and cobweb which neglect has allowed to accumulate. The first
pictures of the series of subjects are acts of creation. It is evident
that Michelangelo did not intend these to be regarded as pictures
framed in the openings which he has preserved, but as repre-
sentations of mighty acts of power taking place in remote space
far from us in time and removed to an infinite distance.
The Creator, whose form more than fills the opening although
so far away, is therefore so vast that he touches the limits of
creation with either hand. He is represented in action, for by
1 It may be remarked that the superhuman expression given by Michelangelo to boy
angels, and equally so by Raflael to similar spirits and to the Child Christ, is the result
of the look of thought and the intense gravity, so far from the aspect of infancy, which
they invariably give to such beings.
Many Masters high in art, miss this altogether; their angels are merely pretty babies
with wings and are absurd, but the youthful angels of Michelangelo like those of Raphael
are of a high order of intelligence, they instruct the prophets who listen eagerly to their
words. It may be that the present idea is that the things of heaven are so far above
human intelligence that the messengers lower themselves to the form of childhood, that
they may be understood. This, apart from another reason assigned in the text, may account
for the child angels teaching the Prophets.
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144 MICHELANGELO
no other means could the artist signify will; he spreads the palms
of his hands, and light and darkness are separated. He blesses
with outstretched hand the dry land, which has appeared at His
bidding, and it is clothed with trees and the multitude of plants
all perfect and c very good. » He creates the sun, moon and
stars, and assigns them their places and movements with his
pointed fingers. Accompanied by his ministering spirits, he
is seen floating over the silent universe, and earth, sea and sky
are filled with life. Then he creates man, and the scene is brought
nearer to us. The benign Creator floats in air borne by Angels,
one of whom of singular beauty gazes with wonder on the new
being towards whom God advances the finger of his right hand,
and the breath of life pervades the image of Himself. This
triumph of Michelangelo's design is unequalled in art. At no
period of its long history has the human form been represented
with more beauty or a higher sense of the divine in man.
In the next scene of this history is shewn the creation of woman.
Michelangelo had been impressed by a design of Jacopo della
Quercia on the fa$ade of St Petronio at Bologna; he gave it
new and infinite grace and thus paid a tribute to the memory
of an. artist, whose genius he admired. Eve rises into life and
her first act is that of adoration of her Creator. It was thus
that Michelangelo typified woman's reverential nature. The
subjects which follow are the temptation and fall, and Adam
and Eve driven out into the unknown to follow their destiny.
The sacrifice of Noah follows ; not the sacrifices of Cain and
Abel, as Vasari states. As it takes place before the deluge,
Michelangelo may have represented an act of worship by the
one faithful family remaining in the world before it entered the
ark of safety.
The next picture is the deluge, fall of pitiful episodes, a scene
of utter wretchedness and misery, yet replete with human sym-
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AND HIS WORKS 146
pathies. The ark, the only place of safety in the drowning
world, is a dark mass with no opening any where. Some poor
wretches have gathered on a projecting portion of it, — one tries
to break into it with an axe — either to die of hunger and
thirst, or to be washed from it by the increasing waves. A boat
is filled with others, but those who struggle to enter it from the
water overturn the frail refuge. Husbands strive to carry their
wives to places of safety, whither others have fled before them;
aeon bears up his dying father; mothers shelter their children.
This scene of woe is represented by Michelangelo, as if the
advancing flood had washed away the wickedness of which it was
the punishment. No doubt, Michelangelo might have designed
this subject so as to preserve the figures of a larger scale, and
might have depicted a single and heartbreaking episode of the
tremendous event, but which to choose of all those, which with
such fertility of invention he has painted? It would have been
a loss to art, had he omitted one. He purposely reduced the
scale of the figures, that he might depict all the scenes of suffering
which rose before his imagination, Besides, it was the usual mode
of representing the deluge to crowd it with figures. He made
no mistake as to the size of the figures, for he prepared a general
design for the entire vault, before he began to paint.
The last picture of the series represents Noah overcome with
wine and sleeping, with his sons around him.
Having thus designed the unequalled series of the ceiling
pictures, terminating with the sin and punishment of man,
Michelangelo's next thought was to commemorate the promise
of a Redeemer and Deliverer, and he invented the majestic forms
of the Prophets and Sybils sitting on thrones and attended by
Angels. The history and cycle of events and of inspired beings
does not terminate with these. In the four angles of the vault
there are typical deliverances of the Jewish people, and in the
10
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146 MICHELANGELO
lunettes and their angular ceilings the ancestors of Christ. These
are not, as in older art, represented as a series of kings or heroes
in the acts or deeds and in the costumes appertaining to their
high estates, but many of them are family groups such as the
painter saw in his walks about Rome. Some are engaged in
study or in profound thought, reading or thinking of the Messiah,
some with very humble or parental occupations typifying the
station and life of Joseph and Mary.
Such are the historical and religious subjects. Besides these
there are many other figures, his powers of design being inex-
haustible. In his first drawing, the vault was to contain only
the « twelve Apostles and ornament in the usual manner. » But
Michelangelo's manner of ornamentation was unusual. His de-
corations-were made up not of foliage and flowers, but of figures
of men or women and children. The capitals of the piers which
support the cornice are groups of children in pairs, which repre-
sent the sports and occupations of child life. Over the cornice
instead of Acroteria, he has placed that wonderful and altogether
unequalled series of youthful men, all in varied attitudes, yet
the general lines of composition are regulated by the laws of
ornament. The great artist seems to revel in the representation
of beautiful forms, to give free reign to his imagination, and
besides being ornamental, these figures are full of meaning. They
are in succession pensive or gay, calm or agitated, ardent or
inert, glowing, passionate, fervent, or frigid, lethargic and im-
passive.
Unsurpassably beautiful in their youthful athletic forms, they
exhibit in their varied movements the vivacity and expressive
action or the repose of the emotional people from amongst whom
the models were selected. In the angles between the tympa-
nums and the piers of the prophetic thrones, other ornamental
figures are found balanced in pairs, in similar attitudes, according
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AND HIS WORKS 147
to the rules of decorative design, and lastly beneath the feet of
the Prophets and Sybils, male and female children (which are
six feet high) bear aloft or stand under the tablets, on which
the names are written of the figures above.
Such were the ornaments Michelangelo preferred and painted
with his own hands. Had he employed a Giovanni da Udine,
these and other spaces not filled with histories would have been
left to the graceful, it may be, but unmeaning or incongruous
fancy of such an assistant's mind and hand, and the grand se-
ries of religious subjects would have been framed in, with ara-
besques imitative, of old Roman and pagan art, with dexterously
painted foliage, with beasts, birds, reptiles and irrelevant even
indecent devices. But the grand stern pure mind of Michel-
angelo, tolerated no such adventitious aids. From his first de-
sign, « Let there be light » to the last of the noble series, no
common or vulgar thought finds entrance. Representing as he
did sublime thoughts, he has shewn his own sublimity and
greatness of mind. He was a worthy successor of the inspired
beings who were the subjects of his unparalled powers of design.
The design of a great artist is tested by his treatment of
drapery no less than by his drawing of the nude; Michel-
angelo's originality of mind and his taste are shewn in the
manner in which he deals with drapery, as much as in the nov-
elty of his great style of drawing the human figure.
' In the Tuscan school a great advance had been made in the
comprehension of a grand treatment of drapery before his time.
Ghirlandaio was one of the artists who led the way in this
improvement, and it is a singular testimony to the powers of
observation of Michelangelo and to his diligent study during the
year which he passed in the School of the Curradi, that he
retained to a late period some peculiarities of his Master's de-
sign of drapery. Before Michelangelo, in all pictures of sacred
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148 MICHELANGELO
subjects, sacred characters were clad in a conventional costume
based upon that of classic antiquity. A tunic close at the
throaty tied in at the waist, and reaching to the ankles with
long and rather wide sleeves, and above this a mantle, a modi-
fication of the toga, arranged in various ways about the person
in ample and generally well drawn folds. In the sacred art of
every people from the most ancient, beings which were the spe-
cial objects of veneration or of adoration, have been invariably
represented so as to be readily recognized by the people, and
the principle has been adhered to in christian art at all times.
On the other hand spectators or actors, in the scenes depicted,
have most frequently been represented in the costume of the
artist's own time, and the incongruity was entirely disregarded.
Michelangelo neither imitated the costumes usually assigned to
sacred personages nor did he introduce figures in modern dress.
He invented modifications in which traces may be found of
ideas taken from ancient art and modern costume, but arranged
and adapted after a style of his own, unlike the methods of any
of his predecessors.
Many details in his draped figures evidently drawn from the
observation of the reality suggest as has been already observed,
that he had costumes made for his models. He was not so for-
tunate as the artists of Greece who saw daily the most beauti-
ful and graceful costumes ever worn by human beings, arranged
with all the taste of civilized refinement, so he had much more
to invent, in an age when costume was full of defects in form.
Modern artists, in continental countries especially, appear to
have considered classic costume and drapery essential in relig-
ious and monumental art. Not so Michelangelo, his draperies
like his drawing of the nude, are full of realism so much so that
they approach at times the details of genre painting. He loves
to display the forms as seen through the folds of the drapery,
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AND HIS WORKS 149
carrying this to extreme, so that in some cases the cloth seems
pasted to the shape. An observable peculiarity is that in the
same figures parts of the drapery are in repose whilst others
are agitated by wind. At all times there is a present sense of
the ornamental principle in his representation of drapery, the
sweeps, turns and convolutions being often those of the orna-
mentist. The presence of this decorative principle modifies the
effect of that realism, which, but for this might seem inconsistent
with the union of painting and architecture.
Before entering upon the subjects of Michelangelo's method
of painting or principles of colour, the disposition of the chiaro-
scuro, which he has maintained throughout the whole of the fres-
cos, must be noticed. The light proceeds from the painted
apertures in the ceiling and falls with equal diffusion downwards
on all sides. The horizontal shadows of the architecture are very
precisely and decidedly marked, but the angular cast shadows
are modified and softened because otherwise they would have
confused with their sharp angles, the general decorative divi-
sions of the design. On the other hand the shadows cast by
the figures which sit in front of the white marble arch, with its
piers cornice and moulding, are painted with Rembrandt-like
vigour, and must at one time have given those figures complete
relief against the bright and fair semblance of marble, now so
dingy and so unlike what it has been.
The backgrounds in the lunettes are darker than those of the
figures of the vault, as are the grounds of the merely ornamental
figures in the angles above, and those below the Prophets and
Sybils form a basement to the brilliant chiaroscuro of the ar-
cade. The effect of chiaroscuro in the scenes in the open
panels has been very aerial, increased by the powerful light
and shade of the figures close to those openings. When first
painted, the arrangement of the chiaroscuro must have produced
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150
MICHELANGELO
a brilliant effect, now entirely obscured, but which no doubt
might still be in a great measure restored. Even at the risk
of repetition it is needful to dwell upon the deplorable condi-
tion of the frescos of the Sixtine. The use of the Chapel for
religious observances has been given up since Rome became the
Capital of Italy, for the time being then, the further destruction
of the greatest monument of painting in the world is arrested*
It remains to be seen whether the Italians will honour their
newly recovered liberties by providing for the safety and pre-
servation of the works of their greatest artist. Judging by past
experience it is perilous to suggest restoration, but the Italians
are now alive to. their misdeeds in this way, and they can fairly
state that they were committed when public opinion was allowed
no voice. It is to be hoped that under free institutions the
precious monuments of art which they possess will be more
cared for.
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Chapter VII
ichelangelo's protest that painting was not his
profession, and Vasari's account of the modest
estimate of himself, which induced him to send
for artists who might show him how to colour
in fresco from his own cartoons, must always
seem inconsistent with the readiness with which he entered into
competition with Lionardo da Vinci in the hall of the palace
of the Signory at Florence; whilst an examination of the fres-
cos of the Sixtine Chapel clearly shows, that, although said to
be so diffident, he had in reality no occasion for any teaching
in the practical processes of fresco painting, for throughout the
execution is masterly, and it is not surpassed, if it can be said
to be equalled by any contemporary works. It is probable how-
ever that he at first encountered serious difficulties. In con-
sidering what may have been Michelangelo's real motives for
bringing artists from Florence to paint with him in the Sixtine,
it may be well to recall what he did, when he went to Bologna
to model and to cast in bronze the colossal statue of Julius.
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152 MICHELANGELO
He took with him a Sculptor of eminence, a Master Bronzist,
and another assistant. When he proposed to execute the mo-
nument of Julius in five years, he must have contemplated the
employment of not less than ten sculptors with other assistants
for minor parts. l What then more probable, that when he con-
sidered the extent of the work before him in the Sixtine, and,
so far as he was personally concerned, its uncongenial nature, he
should desire to surround himself with assistants as he saw Raf-
fael surrounded, and he may have calculated that by this means
he might sooner resume his chisels and mallet and return to the
art which he loved.
The failure of the painters must have been a source of sorrow
and mortification, but again under these adverse circumstances
we see the grand nature of the man: he threw himself into the
work with the prodigious energy characteristic of him, with
conscientious diligence and earnestness of purpose. It appears
that he encountered technical difficulties of a serious nature and
for a brief space was discouraged, but again he resumed his
brushes^ and whatever may have been other obstacles which he
met with, and that he did so is evident from his letters, there
is now no sign of them, for every foot of that unequalled vault,
which has been painted by his own hand, shows the same care
and devotion to his duty, the same excellence from his first days
painting to his last. *
* As the monument according to Condivi wu to contain forty statues, bnt according
to the design in the Florence Gallery many more, and as Michelangelo wrote that he pro-
posed to finish it in five years, it is obvious that he contemplated the employment of
many assistants. He would certainly hare been as completely disappointed in these, as
In the artists whom he wished to employ in the Sixtine.
* It is not assumed that Michelangelo did not begin to paint till the artists had failed,
which appears to be the usual theory. He must hare contemplated working with them,
he says as much to Frate Iacopo, and how else could he keep the work together and pre-
serve unity of effect and colour ? It is much more natural and true to all experience to
believe that from the beginning he meant to work himself surrounded by assistants. By
the bargain that he made with them It Is obvious that he saw possible failure of his plan,
and it did fall, and then he threw himself into the work as related, not however utterly
alone, he parted with most, but, as will be seen, not with all his assistants.
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AND HIS WORKS 163
When the frescos are closely examined with a desire of ob-
serving Michelangelo's method of execution, attention is nat-
urally directed in the first place to the undraped figures, as the
chief tests of the artist's powers. It is apparent that the follow-
ing was the mode of painting. The local colour was laid on,
and modelled and softened into the cool shadow with that per-
fect knowledge of form and truth of gradation habitual to Mi-
chelangelo, and observable in all his drawings. The lights were
then painted with a full brush and softened into the half tints.
It might be thought that the vigorous draughtsman with some
tendency to exaggeration of form, might exhibit a similar dis-
position in the use of the brush, but he painted in the soft Tuscan
manner so much in contrast with his forcible drawing. The
lights being completed as described, the darker parts of the
shadows were added, but no tints resulting from the colours of
surrounding objects were introduced into the reflections, or any-
thing that might impair the simplicity of the monumental style
and breadth of execution.
The heads and faces were painted with loving care and at-
tention, the features being clearly outlined with dark fine lines
to insure distinctness when seen from a distance. The counte-
nances are full of a grand beauty, but there is no monotony
arising from a special idealism or manner; on the contrary,
their variety and truthfulness to high and beautiful types in
nature are striking characteristics of Michelangelo's design in
the frescos of the vault of the Sixtine. He never reproduced
the same forms attitudes or expressions, but these are diversified
as they are in nature, for his invention was boundless. He
evidently employed a great number of models carefully chosen,
there is not a single figure in that vast series of designs, which
has not been studied from nature. Excepting, of course, those,
which are merely decorative. Every detail of the figures is
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154 MICHELANGELO
drawn and painted with the same accuracy, and the hands especi-
ally are both beautiful and full of expression. The hair of the
heads and beards is executed with taste and skill ; it was first
painted in a broad style without detail, then the lights on the
locks were swept in with free ready an4 graceful touches of the
brush, and finally the darker shadows in the same manner.
The sculptor's feeling is observable in the general treatment and
beauty of the tresses, which in some of the figures are motion-
less, in others are agitated by the passing wind.
The draperies are painted in a different manner from the nude
parts, with much less finish, but very broadly and effectively,
whilst the colour is transparent, the ground being seen through
it. * The brush-marks are every where visible and suggestive
of great rapidity of execution, whilst nothing can excel the
certainty, decision and boldness of the handling.
It was frequently Michelangelo's practice to include portions
of the background in his day's work; he evidently did so to
insure softness of outline, at the same time it is to be remarked
that the texture of the background is varied from that of the
draperies. This attention of the great master to effects of sur-
face is remarkable. The frescos seen from a distance of sixty
feet might have been painted with less pains-taking in this re-
spect, but Michelangelo's love of his art was satisfied only by
the greatest perfection attainable, and this is the lesson which
from his supremacy he offers to his brethren in art of all
times.
In the feeling of admiration which the frescos excite, parti-
cularly when observed from a distance of a few feet, the question
presents itself : did Michelangelo really paint every part of them
* In frecco there are examples of transparent as well as of solid painting. In the first
the colour Is not laid in repeated layers. Titian paints in fresco with a Uanspareney
allied to flimsiness. There are many gradations between his transparent wash and the
solid painting of the artist* of the Vatican. Report on Fresco painting C. H. Wilson, 1848.
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AND HIS WORKS 155
alone and unaided, or is this one of the stories told by his early
biographers, the truth of which melts away upon inquiry?
Upon comparing portions of the background close to the figures
painted in his day's work by Michelangelo, with other parts of
the architectural ornament, it is seen* at once that he must have
employed a practical decorator, as he manifestly did a skilled
hand to print the inscriptions. But there is evidence of more
important assistance than this, for, whilst Michelangelo's own
work is bold and masterly, there are parts of the frescos executed
by a less able and more timid artist. The feet of the prophet
Ezekiel were closely examined, and not only are weak in form,
but the colour both in the light and shade is cross hatched with
the regularity of lithography. x The feet of the Sybil Erethrea
and of Daniel were not seen so near, but notwithstanding it
was evident that they were coloured by an assistant, and parts
of the figures of the ancestors of Christ presented the same
appearances. If the whole of the frescos could be closely ex-
amined, there can be little doubt that other indications of the
work of assistants would be found. *
That by far the greater portions of the frescos were executed
by Michelangelo himself, there can be no doubt whatever; but
the assertion that he worked absolutely alone is manifestly
untrue. A fresco painter cannot dispense with a body of trained
assistants, especially in a work so extensive as that of the Six-
1 Michelangelo's own work is as even and smooth in texture as oil painting. So much
having been written of his Inexperience, this is a very remarkable fact, for it is a method
evidently acquired by most masters with difficulty and after continuous practice. The
feet neatly painted with lines crossing each other both in the lights and shadows must
be by another hand. It has been suggested that this cross hatching may be the result of
retouching, but the lights are hatched as well as the shadows, and the colour is immo-
veable, therefore it is fresco. It has also been suggested that it was owing to the plaster
being too dry, but it is far too elaborate to admit of this solution. The difference of
handling admits only of one explanation, that of the text.
* To examine them closely all the furniture of the Chapel must be removed and a
moveable scaffold erected on each side the screen; by this means only could every part
be reached.
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156 MICHELANGELO
tine Chapel. Michelangelo was a man of sense, and it is not
credible that he denied himself necessary aid in conducting his
work. It has been shown for instance that, like other masters of
the time, and notably Raffael, he preferred to pounce his outlines
on the plaster; is it credible that he spent hours, perhaps days,
pricking out the outlines of his cartoons with machine-like re-
gularity ? The theory of solitary work must suppose this, but
the evidence of the frescos when closely examined, whilst bearing
ample testimony to his prodigious skill and industry, at the same
time demonstrates the good sense with which he conducted his
work in conformity with usage and experience.
The colour of the frescos remains to be spoken of; They
have been criticized as low in scale. This is true of their
present state; but when first painted, they were forcible and
brilliant.
The tone of the range of subjects seen through the open panels
of the ceiling is delicate and aerial, the object having been to
convey the idea of remoteness. They are clearly and firmly
painted, and the aereal perspective is increased by direct contrast
with the rich colours of the figures and ornaments above the
cornices, which are painted with the warmth, richness and force
of Titian. The skins of the figures are a dark sun burnt red,
the hair black and the light and shade very powerful. The green
of massive garlands of oak leaves and acorns, the lilac of pendants,
ribbons, ties and medallion frames, the yellow of the medallions
with reliefs on them shaded with warm brown and heightened
with rich gilding, form the effect of colour and the magnificent
decoration placed above the cornice. Beneath it the forcibly
coloured groups of the Prophets and Sybils and their attendant
spirits, relieve against the white marble masses of the arcade.
In these groups the ornamental balance and repetition at fixed
intervals of certain colours ceases and each is painted and
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AND HIS WORKS 157
coloured as a separate picture, bat with equal force of effect. l
The impression which they must at one time have produced is
now in a great measure lost from the accumulation of dust, soot
and cobweb, with which they are defiled. But the powerful
colour and light and shade of these figures, opposed to the pure
white of the imitative marble, may yet be imagined and might
possibly be restored, to prove that great as Michelangelo was
as a designer, he was equally so as a colourist. It is not thus
that he has been thought of, but regarding the use of colour in
its connection with monumental art, as expressive of ideas and
regulated by laws, differing from its employment in imitative
art, then Michelangelo stands in the first rank as a colourist.
Where similar principles are carried out in a subject representing
a scene of real life, as in the Holy Family of the Tribune, then
however harmonious the colours may be in their relation to each
other, their conventionalism is felt to be out of place and too
far from nature, the absence of atmosphere, of truthful reflections
and the decorative treatment ofa subject which is not a decoration
or architectural embellishment, is displeasing.
But as in the Sixtine his instructions were to decorate the
vault with a series of scripture subjects, whilst he has done so
with an originality and power unparalleled in any existing work
of art, his style both of design and colour was admirably adapted
to the task imposed upon him. It is enough to appreciate its
merits and value, to contrast it with the paintings on domes,
vaults and ceilings of later realistic masters. The very truth-
fulness with which they designed and painted, and the resemblance
to nature and costume which they aimed at, have made their
works absurd and ridiculous in such positions. The Pontiffs
1 An important principle is illustrated. In such a series the colour must vary, bat
the general effect of chiaroscuro most be the same throughout. If in a series of frescos
along a wall, morning, noon, evening, night scenes are represented, the general effect ceases
to be monumental, for all unity is destroyed.
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158 MICHELANGELO
and Sovereigns ascending through clouds to the central glory,
clad in velvet and ermine, bearing tiaras and crowns, keys and
sceptres, never suggested to a reasonable being any other than
grotesque ideas. These Michelangelo entirely escapes. He has
solved the problem placed before him with dignity and grandeur,
and is impressive in spite of the position in which he was com-
pelled to place his sacred personages.
It has been seen that Michelangelo began to paint in the
autumn of 1508. He evidently experienced great difficulty in
the commencement of his undertaking, and Vasari relates his
despair when mould appeared on one of* his pictures. The accident
took place in the winter, for his expressions are « as I heard
from himself, to clear this doubt, when he was painting the third,
a certain mould began to arise, when it was blowing north wind
in the winter » but his explanation of the cause of the mould is
not satisfactory, he says that « it arose from the mixture of pozzo-
lana with the lime made from travertine, » whereas the plaster
upon which Michelangelo painted was mixed with marble dust.
There follows a description of his despondency , but his own words
are far more graphic. In a letter to his father of the twentieth of
January 1509, he thus expresses himself. « I am still in great
trouble, for it is now a year since I have had a groat 1 from this
Pope, and I do not ask it, for my work does not make progress,
so that it does not seem to me to merit it, and this is from the dif-
ficulty of the work and that it is not my profession. And I lose
my time without reward; God help me. If you have need of mo-
ney, go to the Governor of the Hospital and make him give you the
amount of fifteen ducats, and let me know what remains. Jacopo
the painter, whom I made to come here, has departed hence one
of these days; he has complained here of my proceedings, and I
think that he will complain in Florence. Be deaf to him ; he
• About two pence half penny.
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AND HIS WORKS 159
has done me a thousand wrongs, and I have to complain greatly
of him. Do as if you saw nothing. Say to Buonarroto that I
will answer him another time. » 1
20th January 1609. »
Yours
MlCHELAGNIOLO
In Borne.
Although the date is written by another hand, this letter
coincides too exactly- with his first troubles, to make it doubtful
when it was written. It is true that he says he had not received
anything from the Pope for a year, whereas he had been paid
five hundred ducats in May, but this is a mere general expres-
sion not intended to be absolutely accurate, a common method
of speaking in frequent use.
Nothing can be more touching, than the manner in which he
expresses himself, nothing more modest on the subject of his
painting, with which he was so little satisfied, that he did not
dare to ask for an advance on his contract. This letter also
shows that he had not been alone and that all his Florentine
assistants had not left; Iacopo l'lndaco had been with him till
about that time from August, and this agrees with the obser-
vations, which have been made from the frescos, that Michel-
angelo did employ assistants. It would seem from the above
letter sthat Pope Julius did not visit the artist at work till after
some time had elapsed; Michelangelo's discouragement plainly
' Letter to his father British Museum Buonarroti MS. n. 81.
This letter clearly shows that for some time Michelangelo found the practice of fresco
painting very difficult and it records failure in his own opinion. As there is no trace of
such failure in the frescos, so far as they have been closely examined, it is probable that
he broke down parts of his own work. His expressions are too explicit as to his sense
of failure to admit of application to the admirable existing work. In considering the time
during which he was occupied painting, this letter describing his early difficulties is quite
opposed to the legend of twenty months spent in the execution of the frescos.
2 The date is written by another hand, but is most propably accurate.
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160 MICHELANGELO
shows this, when at last His Holiness made his way to the scaffold,
his admiration of the frescos must have been reassuring, and he
began to express his desire that they should be shown to the
people. It is related that Julius ascended to the scaffold by
means of ladders arranged for the purpose, but his age and dress
considered, this could hardly have been from the floor of the
chapel, such a mode of ascent would have been undignified and
dangerous. As there is a stair outside, which leads to the level
of the cornice and as then a height of twelve feet could be easily
surmounted by the aid of wooden steps, it is more reasonable to
suppose that the Pope ascended in that commodious and simple
way. He was received by the artist who respectfully held, out
his hand to assist, as the Pontiff surmounted the last steps. He
cannot have been otherwise than gratified, as he contemplated
the magnificent groups and figures then finished, and observed
the admirable way in which they were executed and the brilliant
colouring. We may sympathize with his earnest wish to show
them to his people, both on account of their novelty and grandeur,
and because they were such a testimony to his own good taste
and discernment in pressing, as he had done, the commission
on Michelangelo, whose doubts as to his success must have been
modified by the sympathy and the admiration of the Pope, although
he was not prompt in supplying the funds needful for the con-
tinuation of the work. Michelangelo had many accounts to pay
for materials, to workmen and to assistants and they may have
pressed him for payment. He writes to his father « I work as
hard as I can. I have not had money from the Pope for thirteen
months, I expect to be paid any how within a month and a half.
Remember me to Ricasoli and to Messer Agniolo the Herald. »1
To add to his various annoyances, Michelangelo's domestic
discomfort was great; his servant Pietro Basso was attacked by
1 Buonarroti MS. British Museum, n. 5.
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AND HIS WORKS 161
fever and he therefore insisted upon returning to Florence. As
no satisfactory servant was to be found in Rome, he wrote to
his father to look for a lad of respectable parentage, who would
be content to render him services, and whom he would instruct
in art during part of the day. The youth was quickly found
but his parents, instead of sending him to Rome in an econo-
mical manner^ despatched him under the care of a Muleteer,
who chained Michelangelo an extravagant price for the journey,
and his displeasure was increased when he found that his new
servant and pupil was as foolish as his parents, and insisted
upon drawing much more than had been bargained for. On
this Michelangelo writes « now I have this useless boy who tells
me that he does not wish to lose time, but must learn. Now
they said there (at Florence) that two or three hours a day would
be enough; now the day is not long enough, and he must draw
even all night, such are the counsels of his father. If I said no-
thing to him, they would say that I did not wish him to learn. » *
As the youth entered Michelangelo's service on a very different
understanding, he was sent home again. The anecdote and
letter are interesting on various accounts. Showing the straits
to which Michelangelo was reduced, whilst engaged on his great
work, and the shabby way in which he was treated; and show-
ing also what relationship could then subsist between Master and
Pupil, and the great Master's strict ideas of discipline.
Michelangelo in. his letter to his father says that he has not
had any money for thirteen months; the statement in this case
is so precise that accepting its accuracy, the date of the letter
must be June 1509. The payment which he was anxiously
waiting for, was made at last, and he writes to his father on the
fifteenth of September:
' Buonarroti MS. Brltlah Museum.
11
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162 MICHELANGELO
« Most revered father, I have given here three hundred and
fifty ducats in gold, full weight to Giovanni Balducci, which
may be paid to you at Florence. Therefore on receiving this
present, go to Bonifazio Vati and he will pay them to you, that
is, he will give you three hundred and fifty ducats in gold full
weight; when you have received them, take them to the Gover-
nor of the Hospital and deposit them where you know I have
other deposits. There is a balance of certain ducats which I
wrote to you to take, if you had not already taken them, and
if you have need of more, take what you require, whatever you
have need of, I give you; if you expend it all and if you think
that I should write to the Governor let me know. I under-
stand by your last how the affair goes, I am greatly vexed. I
cannot assist you otherwise, but do not be alarmed on that ac-
count, nor give place to the smallest ajnount of sadness, for if
the property is lost, life is not. I shall give you more, than
you will lose. But do not rely upon what is a doubtful matter,
but do all that you can and thank God that since this tribu-
lation had to come, it has come at a' time, when you can stand
it better than formerly. Try to live, and rather let the pro-
perty go, than suffer discomfort; for you are dear to me in life
although poor, and I would not for all the gold in the world
that you should die ; and if these chatterers or others blame you,
let them talk ; they are ungrateful men without affection. »
The 15th of September.
MlCHELAGNIOLO
Sculptor in Borne.
« P. 8. When you take the money to the Governor, take
Buonarroto with you and neither of you speak to any one in
the world that I send money, neither at this time or any other. » l
1 Buonarroti MSS. BritUh Museum, n. 48.
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AND HIS VOKKS 163
The father, to Michelangelo's great annoyance, had entered
into a lawsuit, and it appears by this letter that it was going
against him. How unwearied the goodness of the son !
The impatience of the Pope became more and more demons-
trative and broke into threats of his severe displeasure, if Mi-
chelangelo did not open the Chapel and exhibit the portion of
work, which he had already done, although as Condivi remarks
« It was imperfect and he had not given it the last touches. »
The scaffold therefore was taken down and the Chapel was
opened to the public on all Saint's day the first of November 1509,
or about sixteen months- from the date of the commencement of
the painting, assumed on the evidence of the letters of Granacci
to have been in August 1508.
The expression « one half » is probably merely an arbitrary
term to denote a portion of the frescos. It is highly probable
that less than half is meant. Michelangelo alludes to this im-
portant event in a letter without date, but evidently written in
October 1509. It is addressed to Buonarroto. < I learn by
your last that you are all well, and that Ludovico has got
another office.... I am here as usual, and I shall have finished
my painting about the end of next week, that is that part of
it which I commenced, and so soon as it is exhibited, I be-
lieve that I shall receive a payment and I shall ask permis-
sion to visit Florence. I have much need, for I am not very
well. » x
All that were great and distinguished in Rome flocked to the
Chapel to see the work about which there were such diverse
expectations. Friends with undoubting faith to witness the ar-
tist's triumph, and enemies with apprehension, for they had
prognosticated his failure; but the opinion held by the Pope of
his success must by this time have been widely published.
1 Letter to his father, British Museum n. 85.
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164 mCHELANGELO
Amongst the greatest of those who visited the Chapel was
Raffael d'Urbino, and there can be no doubt that what he then
saw, was the cause of a fresh impulse in his practice, for from
that day in the opinion of his contemporaries he superadded to
the style in which he had been trained, ideas derived from the
art of Michelangelo. 1 This has frequently been debated as if
it was a reproach to the great artist, but in the histories of men
of genius similar tendencies to assimilation may be observed.
The greater the capacity, die more instant and intense the per-
ception of eccellence in the works of others, the greater the rea-
diness to receive new seed into the fruitful soil, where it ger-
minates and grows, with* modifications due to the character of
that soil. Thus was it with the ideas which Raffael derived
from the art of Michelangelo. So was it with those which Nic-
col6 Pisano borrowed from the ancients and grafted on his
medieval inheritance, so was it with Michelangelo himself, who
was impressed by the Etruscan, Greek and Roman fragments,
which Lorenzo gathered into his garden at St Mark's. The
sight of the frescos of the Sixtine ceiling awakened in Raffael
d'Urbino the consciousness of a power within himself, which
had been only dormant before that day. He was a great de-
signer and draughtsman, a consummate colourist, accomplished
in every branch of his art, exquisite in taste, and endowed with
a rare perception of what constitutes the beautiful, and the art
of his contemporary roused him to exertion in a new direction,
to the embodiment of a grander ideal. He neither borrowed
nor became a follower, he showed that he also could design
with equal sublimity. He recognized the merit of his competi-
1 At a later period Pope Julius in conversation with Sebastian del Piombo remarked :
« Look at the work of Raffael, no sooner did he see that of Michelangelo, than he imme-
diately abandoned the style of Perngino and, as much as he could, approached that of
Michelangelo. > Such was the remark of a contemporary and an excellent judge of art.
Buonarroti Archives, Letter of Sebastian del Piombo to Michelangelo, 15th October 1512
published also by Gaye, V. n, p. 487.
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AND HIS WORKS 165
tor, fully acknowledged it and openly and at once whilst all
men were talking of it, began to design in the same manner.
A painful episode now occurred in the relations of the two
great artists. Condivi narrates that Raffael moved Bramante
to appeal to the Pope to permit him to complete the remaining
half of the work. Vasari does not allude to Raffael' s partici-
pation in this monstrous proposal. There is no baser story in
the history of art, than that Bramante, hating Michelangelo,
urged the Pope to employ him as a painter that all men might
witness his failure. When this anticipation was falsified, when
he saw the magnificent work of Michelangelo, and heard around
him the echos of the universal expression of admiration, instead
of awakening to a more generous sense of the merits of the
noble artist,- his hatred deepened, and he made the shameful
proposal that Michelangelo should be deprived of the rest of the
commission. It is difficult to believe that Raffael had in reality
any thing to do with this intrigue, and when Michelangelo con-
fronted Bramante in the presence of the Pope and denounced
his conduct he made no allusion to Raffael ; he was not a man
to conceal his sentiments, he was open in the declaration of them
even to a fault, and it says much that he limited his complaint
to the conduct of Bramante. It has been already seen what
latitude the Pope permitted to the artists with whom he sur-
rounded himself, both in their manner of speaking in his presence
and of addressing him personally. Michelangelo complained
with fiery words of the injury proposed to be done to him, he
had been long aware of Bramante's destruction of ancient mon-
uments, and he said. « The man who acts thus by me is the
architect, who intrusted with the demolition of ancient St Peter's,
has in his ignorance thrown to the ground and broken the mar-
vellous and beautiful ancient marble columns of that temple,
caring not for them and incapable of appreciating their rarity,
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166 MICHELANGELO
whereas if he had possessed the commonest skill, he might have
preserved them entire, but he only shows how he can pile up
bricks, and has no idea of the difficulty of forming such columns
as he has ruthlessly destroyed. » *
The Pope was not moved by the proposal of Bramante. There
is no vestige of his observations upon what occured, but he
confirmed Michelangelo in his commission*
It is not recorded when Michelangelo resumed his labours in
the Sixtine. It had been thrown open to the public of Rome
against his will by the ardent and impatient Pontiff, and what-
ever the admiration which it excited, it had exposed the artist
to the machinations of his enemies and his sensitive nature to
needless sufferings. He was also ill in health and wished to go
to Florence, but apparently he did not go, for the attempt of
the Raffael party to arrest his work, most probably induced him
to remain in Rome and to resume his operations as soon as pos-
sible. As a proof that as little time was lost as circumstances
permitted, a part only of the scaffold was re-erected, enough to
enable him without loss of time to begin to paint, if the weather
proved favourable; for it must be considered that in winter he
could only paint at intervals and in frosty weather not at all.
This is not remembered by those who fancy that he pushed on
without remission of his labour. Even in Rome there are many
days in winter, when building and plastering cannot be pro-
ceeded with, and similar physical conditions must at intervals
have arrested the work of Michelangelo in the Sixtine.
It is somewhat remarkable that in the letter last quoted he
expresses an expectation that he will receive a payment, when
not much more than a month had elapsed since an advance of
a considerable sum had been made. The expressions regarding
this might throw reasonable doubts upon the date assigned to
* Condtvi, Ed. cit., p. 88.
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AND HIS WORKS 167
this undated letter, but for the distinct allusion to the finishing
and exhibition of the first portion of the frescos of the vault.
The artist disappears with the closing of the doors, and no-
thing is known of his work in the Chapel from the end of 1509
till the autumn of 1510, and even then but little light is thrown
upon its progress. The persistency with which his biographers,
even the most modern, insist that he executed the frescos of the
vault in twenty months, notwithstanding the evident impossi-
bility all circumstances taken into consideration is remarkable.
< The Pope constantly urged forwards, and would not suffer
the least interruption. In this way alone can we explain the
fact that Michelangelo was only twenty months accomplishing
the entire work, ten for one, ten for the other half of the Chapel. »l
This view is asserted although it is not upheld by the evidence
of the frescos. The annotator of Le Monnier's edition of Va-
sari remarks on this subject. « It is difficult to understand how
a practical artist like Vasari could write, that Buonarroti could
complete this work alone and unaided in twenty months ; inas-
much as this assertion is inconsistent with possibility, even if
he had intended to specify only the last half of the work. »
Further on in the appendix it is stated that on the first Novem-
ber 1509 the vault was exhibited, after twenty months labour,
on the day of all Saints. « And it is previously stated that it
was commenced on the tenth of May 1508. » * The inconsistency
of the statement is obvious, when it is observed that from the
tenth of May 1508 to the first of November 1509 is one year
seven months and twenty one days only, and that twenty months
before the first of November, .Michelangelo was at Bologna.
The frescos of the vault of the Sixtine were not in reality
completed till the year 1612, and although they did not occupy
* Life of Michelangelo. Herman Grimm, English translation V. I, p. 889.
» Le Monnier'B edition of Vasari' a Life of Michelangelo and notes.
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168 MICHELANGELO
four years actual work, Michelangelo w*as engaged for that time
in the Chapel of Sixtus with intervals of deliberation and repose.
It has already been remarked that the painting must have
been disarranged in winter by natural causes, and such inter-
ruptions are necessarily of soijue duration, for an artist cannot
cease on a frosty day and resume work the next, if it happens
to thaw. The interruption is permanent, spite of alternate days
of south wind, for the lime freezes in the tanks, the practical
conditions of the work are put in abeyance, and Michelangelo
must thus have submitted to circumstances. That he did paint
in winter is mentioned by Vasari in connection with the outburst
of mould, but still it is evident that he must have been prevented
from painting by frost, and thus the marvel is increased of the
exhibition of the Chapel on the first of November 1509.
This interesting subject will be resumed at a future page. In
the autumn of 1510 the curtain which has fallen between us
and the operation of Michelangelo, is partially lifted. About
midsummer he made application to the Pope for an advance of
money and permission to visit his friends in Florence. The Pope
inquired when he would have done with the Chapel, « when I
shall be able » was the artist's hasty reply, whereon Julius
repeating his words, struck him with his cane. Michelangelo
at once made preparations for his departure or rather flight, but
the Pope sent his page Accursio to pacify him, and at the same
time fifty crowns for his expenses. The journey to Florence
was accomplished, but apparently he did not stay long; still this
is to be remembered as an other interruption to his work.
In September he wrote two letters to his father, which being
almost duplicates, the last only is given:
« Dearest Father, I have been much distressed by your last
informing me that Buonarroto is ill. Therefore immediately on
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AND HIS WOBKS 169
receipt of this go to the Director of the Hospital, and if you
have need, make him pay you fifty or a hundred ducats, and
arrange that all thijigs necessary be provided, and that nothing
be wanting for money's sake. I inform you that there are due
me by the Pope five hundred ducats for work done, and as much
more remains to be given me to make the scaffold, so as to
proceed with the rest of my work, but he is gone hence and has
not left any orders. I have written a letter to him. I do not
know what will be the result. I should have gone to you on
receiving your last, but if I left without leave, the Pope might
be displeased, and I might not get what is due to me. But do
not fail, if Buonarroto is ill, to inform me immediately, for if it
is so, I shall take post horses and be with you in two days ;
men are worth more than money* Let me know, for I am an-
xious. »
The 7th day of September 1510.
Yours
MlCHELAGNIOLO
Sculptor, Borne. *
Whilst this interesting letter shows the strong affection which
bound Michelangelo to his brother, it throws a ray of light upon
details of considerable interest. The phrase « more remains to
be given me to make the scaffold » shows that after the exhibition
in November a portion only was re -erected, and Michelangelo
now required that it should be added to or completed to enable
him to proceed with his work. The large sum suggests that the
completion was meant. It has been already pointed out that
the whole of the scaffold was necessarily erected in 1508, because
the vault required painting and roughplastering. It may be also
considered certain that one of Michelangelo's first operations must
1 Letter to his Father Buonarroti MSS. Britlah Museum.
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170
MICHELANGELO
have been to lay off or plan out the whole of the architectural divi-
sions of his design, before commencing to paint. Not only was this
usual, but it might be done on the old system on the rough coat.
That he did so is shown by the accuracy with which all the details
of the decorative portion of the design are carried out, which
would not have been the case, had they been drawn piecemeal.
The divisions thus laid off and the places of all the figures in
the design being marked out and settled, it became practicable
when the scaffold was taken down to erect it again in sections,
and that this was at first done is apparent from the above letter.
Before however the Chapel could be completed, it will be seen that
the entire scaffold was required, which explains Michelangelo's,
high estimate of the cost.
Before entering upon the practical reasons which made this
expedient, Michelangelo's letters regarding the payments made
to him render it necessary to consider these and their bearing
upon his work, but this subject may be reserved for the commen-
cement of the next chapter.
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Chapter VIII
he record kept by Michelangelo in his letters, of
the payments which he received on account of
the painting of the Vault of the Sixtine Chapel,
throws light both upon the conduct of Julius
towards him and upon the progress made with
his work. It is desirable for the sake of clearness to recall
the payments made from the beginning of his operations In
May 1508 he received an advance of five hundred ducats, to
meet the necessary outlay in commencing and carrying out the
work in the Chapel. Seven months afterwards he complained
of being in want of money, but was so dissatisfied with his
work, that he had not courage to apply to the Pope for an
advance. In September of the following year he forwarded
three hundred and fifty ducats to Florence, having probably
received five hundred to account. In November 1509 the Cha-
pel was by the Pope's order thrown open to the public, it being
stated that half the work was done. This must be an error.
Condivi says that the sum paid to Michelangelo for the whole
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172 MICHELANGELO
work was three thousand ducats; now that was the amount
agreed upon for painting the twelve Apostles with the usual
ornament. The sum agreed upon for the greatly extended de-
sign was to be more, and if Michelangelo was paid three thousand
ducats only for the ceiling, when it was completed, then Julius
treated him very ill and broke his pledge. In November, when
the Chapel was thrown open to the public, Michelangelo had
at most been paid one thousand ducats, assuming that he had
received five hundred when he forwarded three hundred and
fifty to Florence. It is not the least likely that his work was
so far in advance of his payments, that he had executed one
half of it under very depressing circumstances, and when also
he had only been paid one third of the amount of his first con-
tract, and certainly considerably less than one third of that,
under which he was actually working.
In September 1510 Michelangelo informs his father that the
Pope owes him five hundred ducats for work done, and as much
more for the scaffold; and in a letter without date, but mani-
festly to be referred to this time, he states that he had been
paid four hundred ducats to account. Nothing can be more
unfair or more unsatisfactory than these payments. The Pope
however at this time must have awakened to a sense of the in-
justice, with which Michelangelo was being treated; for on the
twenty-sixth of October 1510 the artist writes to Buonarroto
that the Pope's Treasurer had paid him five hundred ducats,
being up to this date seventeen hundred and fifty ducats, with
fifty crowns sent by the Pope through his Page, when he dis-
covered that Michelangelo meant to leave Rome. Thus two years
and nearly five months after He had begun to work in the Six*
tine Chapel, he had not been paid one half of his larger contract,
for it is quite reasonable to assume that it amounted to conside-
rably more, than the first. Vasari specifies a much larger sum.
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AND HIS WORKS 173
It is possible that the Pope, in his hard way, limited his pay-
ments by the amount of work done. Michelangelo admits that
at first his progress was unsatisfactory, he would not ask for
money, and Julius was not generous. But after the exhibition
of the frescos he might, and he ought to have acted upon very
different principles. On the contrary his conduct was as shabby
as it was arbitrary.
In January 1511 Michelangelo paid a visit to the Pope then
in the camp before Mirandola, and obtained another payment, the
amount of which is not specified, but it says much for the just- -
ice of Michelangelo's demands which followed each other so
rapidly, and something also for the temper of the Pope, that
engaged as he then was conducting the operations of a siege,
which he did with such soldier-like conduct as to expose himself
freely to danger, he should have so promptly attended to the
request made to him for further payment. The amount is not
stated, but Michelangelo returned with the Pope's Chancellor to
Rome and thence transmitted on the eleventh of January two
hundred and fifty -eight ducats to his credit at Florence.
If this payment amounted also to five hundred ducats, he had
now received altogether two thousand two hundred and fifty du-
cats and fifty crowns, sent by the Pope by the hands of his page
Accursio.
In little more than a month afterwards, Michelangelo wrote
to his brother: x« Buonarroto. Inclosed is a letter for Messer
Agniolo. Deliver it immediately. I believe that it will be ne-
cessary for me to return to Bologna in a few days, for the
Chancellor of the Pope, with whom I came from Bologna, pro-
mised me, when he left, that so soon as he was at Bologna, he
would provide for me to enable me to work. It is a month
since he went, and I have heard nothing. I shall wait the re-
1 British Museum. M&ntuerjpt by Michelangelo.
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174 MICHELANGELO
mainder of the week, after which, if nothing comes, I believe
that I shall go to Bologna and I shall pass by Florence. Nothing
more. Inform Ludovico and tell him that I am well. »
The twenty third day of (February) 1511.
MlCHELAGNIOLO
Sculptor, Rome.
This interesting subject will again be resumed in its place,
when the work of Michelangelo was completed. In the mean
time to return to the paintings of the Vault.
The evidence, which a close examination of the paintings of
the Sixtine affords to the elucidation of their real history, has
been interrupted to follow the correspondence, which throws so
much light upon the proceedings of Michelangelo in the Chapel,
and upon his life and thoughts. As for a time this correspon-
dence diminishes or the letters written are lost, the consideration
of the evidence deducible from the frescos may be resumed.
Vasari makes the following statement : « Michelangelo desired
to retouch some parts « a secco » l as the old Masters had done
in their historic pictures below, (the frescos on the walls below
the vault). In these backgrounds, draperies and skies were
painted with ultramarine, and ornaments touched in gold in some
places, so as to give them more richness and greater show: now
the Pope having heard that this was wanting, and at the same
time praise of the process by those who had seen it, desired that
it should be done. But as it would have been a long business
for Michelangelo to rebuild the scaffold, it remained undone.
The Pope, seeing Michelangelo, frequently said to him « Let the
* « A teeeo » as distinguished from « a fresco » means painting in sise colour over the dry
fresco paintingy that ii, when the fresco or fresh plaster of the first process had become
quite dry and admitted of painting with sise colour. In this case the artist is free to use
delicate colours which! if applied on wet plaster, would instantly perish. He may also rein-
force the shadows, which in fresco are apt to dry too light and so require this retouching.
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AND fflS WOBKS 175
Chapel be enriched with colour and gold for it is poor » Michel-
angelo jestingly replied: Holy Father, at that time men did not
wear gold, and those who are here painted were not rich, but
were devout men and despised riches. »
It would appear from this statement and that of Condivi also,
that Michelangelo did not retouch the frescos when dry with
size colour, nor gild any part of them, because the scaffold was
taken down. On the vault being examined with a special view
to the accuracy of these statements, it was found, that thd frescos
are extensively retouched with size colour, in the manner then com-
mon, evidently by the hand of Michelangelo. The colour readily
melted on being touched with a wet finger and consisted of a finely
ground black, mixed with a size probably made according to the
usage of the time from parchment shavings. The shadows of
the draperies have been boldy and solidly retouched with this
size colour, as well as the shadows on the backgrounds. This
is the case not only in the groups of the Prophets and Sybils, but
also in those of the Ancestors of Christ in the lunettes and the
ornamental portions are retouched in the same way. The hair
of the heads and beards of many of the figures are finished in
size colour, whilst the shadows are also thus strengthened, other
parts are glazed with the same material, and even portions of
the fresco painting are passed over with the size, without any
admixture of colour, precisely as the force of water colour
drawings is increased with washes of gum. There can be no
doubt that nearly all this work is cotemporary, and in one part
only was there evidence of a later and incapable hand. The
size colour has cracked as the plaster has cracked, but apart from
this appearance of age, the retouchings have all the characte-
ristics of original work.
There are very few indications of retouchings on the carefully
painted nude figures, or on the faces, hands and feet of draped
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176 MICHELANGELO
figures, and so far as it was possible to observe these, they are
untouched with size colour. But further examination may disco-
ver glazing upon them and on other parts of the vault. It is
remarkable that the face of Jeremiah seems colourless and painted
in black and white only : that the face of Daniel is blotched
with brown marks. These have undoubtedly been injured by
rude hands, suggesting that glazing has been partially or entirely
swept away.
Vasari's statement, that Michelangelo intended to apply ultra-
marine in painting the skies, is very likely true. There is no
trace of it now, but done as Michelangelo would have done it,
it is easy to imagine that it would have added to the beauty of
the pictures in the panels, lustre to the imitative white marble,
and harmony and brilliancy to the whole ceiling. It would have
been in conformity with usage also.
Retouches in size-colour are easily recognized. Pure fresco
has a metallic lustre, but the retouches are opaque. They are also
necessarily painted differently from the fresco, have a sketchy
appearance, with hard edges, or are hatched where an attempt
is made to graduate them. These retouchings, as usual with all
the Masters of the art of the time, constituted the finishing process
or as Condivi expresses it, alluding to it in his history of these
frescos, « l'ultima mano. » They were evidently done all at the
same time, and therefore when the scaffold was in its place.
With regard to gilding; the frescos below the vault, referred
to by Pope Julius, are much hatched and ornamented with gold
in the barbaric manner of the art of medieval time and of the
early renaissance. Against imitating this, the good taste of Mi-
chelangelo rebelled, the usage was also generally dying out
and giving place to sounder principles of art. But he did not
object to gilding on parts which were merely decorative ; the sub-
jects on the medallions freely sketched with a rich brown are
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AND HIS WORKS 177
hatched with gold lines, the balusters of the thrones of the Pro-
phets and Sybils are gilt, and it is probable that traces of gilding
may be found on the yellow figures in the angles above the lu-
nettes. Thus it is evident that Michelangelo left no part of his
great work incomplete, but that he finished it in every respect,
as he first designed it. l
The interesting question, how long did it really take to paint
the frescos of the Sixtine Chapel, merits especial attention. The
documentary evidence is now wholly opposed to the truth of the
statements of Vasari and Condivi, that they were painted by
Michelangelo « alone and unaided in twenty months, not even
by some one to grind his colours. » This last assertion is so
extravagant, that it is astonishing how practical artists could
have deliberately written it. According to Condivi, twenty-five
ducats were expended on the colours; as has been already
observed there must have been an enormous quantity used, and
it is absurd to suppose that an artist who invariably availed
himself of assistants, should have departed from his usual habits
upon this occasion. He could find many colour grinders in Rome
much more competent than he could be, to grind his colours.
The story may have sprung from the fact that the Master fresco
painter prepares the palettes daily for himself and assistants, so
as to insure the proper mixture and selection of tints, and is
often thus occupied whilst his pupils are painting.
So far as the computation of the time occupied in executing
a fresco painting is concerned, it is easy to fix its duration, as
every day's work is marked by the joints in the plaster, which
remain visible after it is finished. In the morning the plasterer
presents himself to the artist and is instructed where to lay the
fine coat of plaster required; When it is laid, the artist marks
1 Unless the skies nerer were painted with ultramarine, in which case this was an
omission.
IS
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178 MICHELANGELO
out the outline, and his colours being ready, he begins to paint,
when he has finished his day's work, he takes a knife and cuts
away all the plaster, which he has not made use of. Next morning
the plasterer again appears and again receives his instructions
and joins the fresh plaster to that laid and painted, the day before,
at one or more of the cuts made by the artist's knife. Between
the two expanses of plaster a fine line or joint remains perma-
nently visible. The closeness or coarseness of these joints varied
greatly in the frescos of the old Masters, according to the degree
of skill possessed by the plasterers, some being hardly discernible,
whilst others are very distinct.
In the frescos of the Sixtine the joints have been made with
special care, Michelangelo disliked any disturbance of the sur-
face; always finishing his own work carefully, he would not
tolerate neglect in his assistants. Where the figures are retouched
with size colour, the joints are for the most part hidden by it.
In the nude figures the lines are however more visible* and the
number of days occupied in painting them, may be counted.
The fictitious marvels related by Vasari and Condivi fall short
of those disclosed by the frescos of the Sixtine, when closely
observed. Michelangelo could paint a nude figure considerably
above life size in two working days, the workmanship being
perfect in every part. The colossal nude figures of young men
on the cornice of the vault at most occupied four days each.
There are appearances about some of them, that less time was
spent over them, yet they are admirably finished. The reclining}
figure of Adam, as seen from a distance of eight feet from the
scaffold has apparently been painted in three days. The sta-
ture is about ten feet. In the excellent photograph by M. Braun
there are appearances of a joint across the loins. * If there is
1 The marks of the stylus are observable also In M. Braun's photograph and are Indicated
in the illustration by dotted lines as are the Joints in the plaster by larger marks.
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AND HIS WOBKS ' 179
such a joint in the fresco, then Michelangelo was occupied for
four days painting this magnificent figure,' which throughout is
finished in every part in the most careful manner. He devoted
an entire day to the head and apparently throughout the whole
of the vault, it was his wont at this period of his life to devote
more time to the heads than to other parts of the figure, but
at a later period of his career it was not so.
•This wonderful power of rapid execution combined with the
highest finish was not limited to Michelangelo. His princely
compeer Raffael painted with similar celerity and equal beauty
of handling. Other eminent artists might be mentioned, who
also painted with quickness and facility; but this is often found
Associated with slight and sketchy work, whereas Michelangelo's
and Raffael's execution, however rapid, was never so.
There is no possibility of doubt that Michelangelo provided full
size working drawings. It has been already remarked that the
great masters spent more time upon the execution of the Cartoon,
than the fresco, the two most famous instances being the Cartoons
of Lionardo da Vinci and Michelangelo for the paintings in the
Palace of the Signory. But it is also certain that they did not
invariably prepare these laboriously finished Cartoons. Some
of these, provided by Michelangelo for the Pauline Chapel, exist
at Naples and are said to be slightly drawn. It is probable that
the Cartoons for the Sixtine frescos, or at any rate most of them,
were of the same nature. It may be reasonably assumed that
no Cartoons were prepared for the standing figures under the
feet of the Prophets and Sybils, none for the groups of children
on the piers, nor for the yellow figures in the angles above, nor
for the subjects in the medallions. These being deducted, there
remain important figures and groups, for which it is calculated
that at least fifty nine Cartoons must have been prepared, besides
the working drawings for the architectural decoration.
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180 MICHELANGELO
Michelangelo's method of preparing his drawings has been
already described, the small sketch, the study from nature and
the enlarged drawing or working cartoon. It has also been
shown that he sketched with extraordinary rapidity, and this
must be taken into consideration in calculating the time which
he expended during his preparations for painting in fresco. At
least two hundred working days must be allowed for the execu-
tion of the sketches and Cartoons, this calculation being based on
the known rapidity of his execution. Twenty months contain
six hundred and eight days, from which deducting two hundred
for the Cartoons, four hundred and eight remain, in which to
paint three hundred and forty-three figures. * It will at once be
seen that stupendous as were the powers of Michelangelo and
marvellous, as was in reality, the rate at which he could paint,
it was not possible to execute the entire work in twenty months,
not even with the assistance which he employed, which, judging
by the frescos, was evidently small in amount. That he should
do so entirely unaided was an extravagant assertion not even
if he painted without rest and continuously during the whole
of that period. It is evident that to do this was impossible, the
breaks which took place owing to absences and other circum-
stances, such as cold or frosty weather, have been enumerated
to show that practically he could not paint continuously, and it
must be felt that mind and body would have both broken down
under such continued exertion.8 The evidence of the frescos
clearly shows, that Michelangelo made extraordinary efforts at
intervals, painted probably for weeks together with untiring
1 1n this computation of the number of figures it is not to be understood that entire
figures are meant In every case. The heads were counted, and of some figures the heads
only are seen.
' The fact that Michelangelo could paint nude figures larger than nature in from two
to four days if applied as a basis of calculation to all the groups and figures might bring
the actual painting within twenty months of working days, if Michelangelo worked during
that time without intermission and did nothing else. This was not the ease.
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AND HIS WORKS 181
energy and then rested. This is consistent with what is known
of him. Periods of hard work were followed by intervals of
repose devoted to reading and the study of his favourite authors.
It may have been at such times that Julius, whose restless ener-
getic spirit kept him unceasingly occupied, and who possibly
did not understand the poet painter's need of rest after great
creative efforts, harassed him with urgent remonstrances and
impatient expressions of dissatisfaction, met by the great artist
with equally impatient replies. Executed then not in twenty
months, but in four years of alternate efforts wonderful in their
energy, and of rests necessitated hy circumstances and by the
demands of body and mind, the frescos of the Sixtine remain
unequalled examples of creative power, unsurpassed technical
skill and the triumph of genius over trials and difficulties, as
painful, as they were singular and varied, and rendered doubly
so by the melancholy temperament and nervous constitution of
the mighty artist. Besides the causes for sadness proceeding
from his home, it may be justly surmised that Michelangelo
felt bitterly the conduct of Pope Julius towards his beloved
Florence. His countrymen were excommunicated by the irate
Pontiff; an exercise of spiritual power which they disregarded.
He then insisted that they should separate themselves from their
alliance with France, and should aid him in his projects with
men and money. The troubles of the wealthy and free Republic
were increased by a union between the Emperor and the Pope,
and of course a demand on his part for money, which was at
once refused. The envoy of the Emperor thereupon entered
into negotiations with Cardinal Giovanni de'Medici and with
Giuliano for the restoration of the Medicis to power, on condi-
tion that they would pay a sum, which it was hopeless to demand
from the independent government. The Pope favoured the Me-
dicis, and the Spanish Viceroy Don Raimondo di Cardona readily
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182 MICHELANGELO
joined the project for overthrowing the government of Florence,
restoring the Medicis, gratifying the Pope and checking France.
The Florentines unable by negotiation to avert the evils which
threatened them, prepared for their defence. They hoped that
the enemy which laid siege to Prato would be delayed by a
vigorous resistance, but it fell on the first assault and was cruelly
pillaged. The partizans of the Medicis took advantage of the
dismay caused by the fall of Prato, and in a tumultuous assem-
blage of partizans revolutionized the government, imposed their
will on the Signory and compelled Piero Soderini to vacate the
Presidency and to leave the city.
The Viceroy entered Florence. The rights of the Medicis were
restored, which meant, as all men knew, that having been driven
out as Lords of the city, as Lords they now returned.
Such was Michelangelo's patriotism and love of liberty that
these deplorable events grieved and depressed him. As usual
his mind turned towards his father andjbrothers, for he knew
that they would be exposed to danger. He therefore wrote to his
brother Buonarroto, advising that the family should leave the
city as soon as possible, and that if they could not carry their
property with them, at any rate to save their lives. At the same
time he directed them to the Governor of the hospital, where
his savings were deposited, that they might have as much money
as they required, for in such a case of peril the expense was
not to be considered. He concluded by saying « with regard to
the land encumber yourselves with nothing, neither by deed nor
word, act as you would in the case of plague, and be the first
to fly. »
On the fifteenth of September, hearing that the Medicis were
in Florence and that tranquillity had been restored, and that
all danger of violence and rapine was over, his confidence re-
turned and he wrote to his brother:
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AND HIS WORKfr 183
« I understand from your last letter that the city was in great
danger, and I was greatly grieved; now I hear it is said that
the Medicis are again in Florence and that order has been re-
stored : from which I conclude that all danger from the Spaniards
has passed, and there is no reason now why you should depart,
therefore remain in peace. Make no friendships nor intimacies
with any one, but the Allmighty alone. Speak neither good
nor evil of any one, because the end of these things cannot yet
be known. Attend only to your own affairs. I must tell you
that I have no money, I am, I may say, shoeless and naked.
I cannot receive the balance of my pay till I have finished this
work, and I suffer much discomfort and fatigue; therefore, when
you also have trouble to endure, do not make useless complaints,
but try to help yourself. Do not take my money from me. I
save in case of accidents or dangerous times. If however you
are in great need, write to me at once. I shall be with you
soon. I shall not fail by some means to be with you on All
Saint's day, if it please God.» *
It is apparent from this letter that however nearly the end of
his labours was at hand, the frescos were not yet finished. It
is probable however that it was about this time that the ample
retouchings, which have been described, were in process of ex-
ecution. %
His regard for his family suggested the letter of the 15th Sep-
tember. He did not however always observe the same lessons
of prudence himself, but, was prompted by his sense of justice
and his abhorrence of misdoing to express his sentiments, when
intelligence reached him of the pillage of Prato. The silence
which he maintained in relation to political affairs was fully
justified by the perilous and unscrupulous nature of the times
' Buonarroti Archives. Prom Rome 15 September 1512.
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184 MICHELANGELO
in which he lived. His experience of the men who played a
part in public affairs, taught him not to trust one party more
than another; but when he heard of wrong doing such as that
at Prato by the Medicis and their adherents, he wrote in reply
to a letter of his father :
, « With regard to the Medicis, I never have spoken against
them, except in that manner in which they are universally spoken
of by all men with regard to the affairs of Prato, of which if
the stones could speak, they would cry out. But besides this,
many other things have been said here, which hearing, I said,
if it is true that they act thus, they do ill: not that I have
believed it of them, and God grant that they be not so. About
a month ago a certain person, who showed himself very friendly
towards me, had said much evil regarding them, so that I reproved
him and said that he did not do well to speak thus, and that
he was not again to speak to me so. » 1 Michelangelo could not
forget what he owed to the Medicis nor his own friendship for
them; he condemned the misdeeds at Prato, but would not listen
to evil reports without a protest.
After the restoration of the Medicis, augmented taxation bore
heavily upon the Florentines, and the Buonarroti in their narrow
and dependent circumstances suffered new privations. As usual
a new appeal was made to the good angel of the family, nor did
he fail to show his usual kindness nor to exercise his usual self
denial. He came to their aid and for their sakes gave of those
savings, which no want upon his own part seems to have induced
him to expend upon himself.
Michelangelo did not limit himself to the offer of money to
assist in paying the new taxes, but he wrote to Giuliano de' Me-
dici in favour of his family. The following letter written at this
1 Britiah Museum. Buonarroti M8S. 1512.
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AND HIS WORKS 185
time, transcribed in full} is evidence of that conflict between his
judgment and his affections, which marked so much of his cor-
respondence with his family. At times his ardent temperament
led him to break into irascible expressions, quite justified by
the occasion, the effects of which he as readily tried to mitigate
and soften. At one time haughty, at another humble, amidst
conflicting emotions the profoundly religious tone supplied comfort
to a mind overburthened with its trials.
« Dearest Father, by your last letter I learn how affairs are going
with you, which before I knew in part. We must have patience
and recommend ourselves to God and try to acknowledge our
errors, for which and for no other reason this adversity has be-
fallen us, and especially for pride and ingratitude. I never have
known a people so proud and ungrateful as the Florentines, so
that justice overtakes them with good reason.
With regard to the sixty ducats which you tell me you have
to pay, it appears to me a dishonest charge, and I have been
greatly vexed, still we must have patience and submit to the
will of God. I shall write two sentences to Giuliano de' Medici,
which will be inclosed in this ; read them, and, if you like, take
them to him and you will see whether they will benefit you. If
they do not, think how you can sell our possessions, and we
shall go elsewhere to live. If you observe that you are worse
treated than others, refuse to pay, rather let them seize what
you have, and let me know, but if you are treated on the same
way as our equals, be patient and hope in God. You tell me
that you have provided thirty ducats, take thirty of mine, and
send me the balance here: take it to Bonifazio Fati, that he
may transmit it here through Giovanni Balducci, and make Bo-
nifazio give you a receipt for the money, and inclose it in your
letter, when you write to me. Live on, and if you are not to
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186 MICHELANGELO
share in the honours of this world, like other citizens, it is
enough to have bread, and to live in the fiuth of Christ, even
as I do here, for I live humbly, nor do I care for the life, nor
the honours of this world. I endure great weariness and hope-
lessness, so it has been with me for fifteen years, never an hour's
eomfort, you have never known nor believed how I have striven
to aid you. God forgive us all. I am prepared, so far as I
can, to do always the same, whilst I live. » *
Michelangelo's intervention in favour of his family was suc-
cessful, as he was informed by his father, and they were ab-
solved from paying the tax.
The touching pathos of the few last lines of the above inte-
resting letter can only be allusive to the treatment which he
experienced during the progress of his great work; he felt that
his labours were not requited, as they ought to have been, and
therefore that they were vain; he was urged beyond bearing to
work, and payment was withheld to compel him to hasten it.
Julius thought that at his age there was no time to spare, and
he was impatient with the great artist, whose genius he ap-
preciated, but whom he appears to have regarded as a machine
to be moved by his will, nor does he seem to have considered
the nature he had to deal with, still less the effects upon it of
his own acts. On the other hand Michelangelo may not have
understood the ardent desire of the Pontiff to sweep the « bar*
barians » from the sacred soil of Italy, still less his policy in
attaining his end, especially when it sacrificed the welfare of
Florence. It was when this policy had reversed her liberties,
that Michelangelo concluded his work in the Sixtine, which he
relates in these brief and simple terms.
1 British Museum Buonarroti MSS. 1512.
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AND HIS WORKS 187
« I have finished the chapel, which I painted: The Pope is
very well satisfied ; but other things do not happen as I wished,
lay blame on the times which are unfavourable to art. » x
So the termination of the greatest work of painting of modern
times is chronicled. The great artist left the frescos on which
he had been occupied for years, unnoticed, except by a few words
of praise from the Sovereign Pontiff, whom he had served so well.
There is no account of a repetition of the exhibition of the paint-
ings, nor of crowds to see them or to do honour to Michelangelo;
the silence on their completion, even of detraction, contrasts with
the excitement manifested when only a part of them was first seen.
The last words of the brief notice of the end of so great a
work show that it was not adequately rewarded. A document
preserved in the British Museum amongst the Buonarroti manu-
scripts, written by the hand of Michelangelo, leaves no doubt
upon the subject. It repeats some statements already quoted:
« Afterwards returning to Rome he (the Pope) would not that I
should proceed with the monument, but would that I should
paint the vault of Sixtus, for which we came to an agreement
for three thousand ducats for the whole expense with few fig-
ures only.
But after I had made some designs, it appeared to me that it
would turn out a poor thing, so he made another contract with
me including the histories below, and that I should do on the
vault what I pleased, which amounted to about as much more,
and so we were agreed : afterwards the vault being finished,
when came the time for settlement, the affair did not make
progress, so that I hold that there remain to pay me several
hundred ducats. » 2
' British Museum Buonarroti MSS. without date but evidently 1512.
* British Museum Buonarroti MSS. without date.
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188 MICHELANGELO
From this statement it appears that Michelangelo was to be
paid six thousand ducats for painting the vault and the religious
subjects on the wall below. These not having been executed,
the value assigned for them must be deducted from the cost of
the painting of the vault. There are no means of doing this now,
but Michelangelo held that several hundred ducats were due to
him upon his contract. If to this be added the sum also due to
him on the bronze statue executed at Bologna, at least a thou-
sand ducats, Julius died his debtor to a considerable amount.
His treatment of Michelangelo in money matters is altogether
mysterious; some evil agency, and the artist had many enemies,
must have arrested the stream of his bounty. The papal treasury
was not emptied by wasteful extravagance as by his successor,
for notwithstanding the warlike operations of his reign, he left
it well provided. At his bidding Michelangelo sacrificed, country,
friends and honourable employment in Florence, to be ill re-
quited for his sacrifice, and indifferently protected from the
machinations of his enemies, whose objects the Pope must have
seen through and might have discouraged by demonstrating his
displeasure. He died in 1513 in debt to Michelangelo of sums
which never were paid afterwards, and bequeathed to the great
sculptor the execution of his monument, which circumstances
rendered the bane of his existence.
Few now think of or care for the acts of the stormy pontificate
of Julius, but his name is honourably associated with his culture
of the fine arts and especially with the creations of Michelangelo
and Raffael, and the personal friendship with which he regarded
these great men is remembered with sympathy and interest, spite
of his errors of conduct springing from an arbitary and impatient
disposition. Injustice has been done to him by posterity, by the
baptism of the first quarter of the sixteenth century with the
name of his successor instead of with his. The age of Julius
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AND mS WORKS 189
was the golden age of art, rather than that of Leo, who was as
much his inferior in imagination and enterprize as he was in
originality and loftiness of aim in his employment of men of
genius.
It might hare been supposed, that every means would have
been taken to insure the safety and preservation of the noble
works of art In the Sixtine. The contrary has been the case;
they have been neglected and wilfully maltreated, and this not by
enemies, whether foreign troops or revolutionary mobs. Here
as elsewhere throughout Italy the Sacristan, and the spirit of
the Sacristan in his superiors, have been the worst enemies of
works of art, for everywhere in the peninsula the most precious
treasures of painting which the genius of Italians have created,
have been left to the clumsy operations of the most ignorant of
church officials, and church decorators, who have nailed their
gaudy properties, without scruple against the fresco painted walls.
In the Sixtine many square feet of the fresco of the last judgment
are scratched and defaced by ladders placed against it to erect
an altar piece of tapestry, the frame work of which is held up
by iron stanchells driven into the painting of Michelangelo. The
love of altar illumination, so wide spread in Italy, has done
more to destroy pictures of every description than any other
cause whatever. The frescos of the Sixtine, like those in many
other chapels, are so darkened by the effects of the smoke of
tapers, that seen from the floor the real colours are imperceptible.
This veil of soot has been increased, it is said, by the burning
of documents' connected with each conclave, so that every
election of a Pontiff, since the death of Julius, if the custom is
so old, has contributed to the obscuration of these great works.
Cobwebs hang from every part of the ceiling — as they hang
in neglected crypts, charged with dust, and the undisturbed
insects pursue their industry ceaselessly. Numerous cracks of the
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190 MICHELANGELO
plaster run lengthways in meandering lines on the ceiling, like
the rivers on a map with their many affluents. These cracks
are of a dark brown colour and present a singular and unsightly
appearance. 1 They indicate a want of stability in the brick
arch, which is evidently indifferently constructed, its surface is
uneven, which is not observable from below, but is readily per-
ceived from a distance of a few feet. *
The surface of the finished plaster mixed with marble dust,
upon which the frescos were painted, being composed of Roman
lime and laid too thickly upon an irregular surface of rough
plastering below, is cracked all over. * It may be said that there
are not two square inches not so cracked. This is a defect of
Roman lime which has this tendency, but, as far as it could be
examined, the plaster or « intonaco » is solid and hard and
would bear cleaning.
Unhappily some portions of the plaster have fallen down. An
entire figure nearly, of one of the young men sitting on the cornice,
has thus disappeared, and has been rudely replastered. Other
parts broken out have been clumsily mended and coloured by
working plasterers, but grievous as these facts are worse remains
to be told. The ceiling has at one time been washed by la- ,
bouiing men with water in which a caustic has been mixed.
Thus great brushes or sponges have been swept over the skies
and backgrounds and have not only removed the dirt in a coarse
unequal way, but have eaten into the colours and destroyed them
1 The Intelligent Photographer of the frescos states that many of these cracks are only
apparent and that they are painted on the celling. The explanation of this extraordinary
statement would be that Michelangelo dreading the insecurity of the vault painted ficti-
tious cracks to induce the building of buttresses to sustain it. I was not near enough to
ascertain the real nature of these marks, but was struck with their brown colour and thought
that they were cracks filled with a brown mastic, by no means a satisfactory solution ;
many of them were evidently fissures filled with dirt.
1 It was easy to insert the point of a pen knife through some of these cracks when it was
found that the smooth coat of plaster varied in thickness from a quarter of an inch to half
an inch. This would certainly lead to cracking. But Roman lime is known to crack and
Tusoan lime is now frequently sent to Rome on account of its better quality.
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AND HIS WORKS
191
in a variety of places. The face, shoulder and arm of the
Prophet Daniel, various parts of the bodies and limbs of the
young men sitting over the cornice and other portions of the
frescos have been nearly obliterated by this savage proceeding.
The injury done is irremediable, for the surface of Michelangelo's
work has been swept away. As the forms remain, the parts
may be glazed and toned, should any attempt be made to clean
the surface.
It is to be hoped that the conscience of Italy will be awakened,
and that sorrow and shame will take the place of the indifference
with which the destruction of works of art, going on for centuries
has been regarded. In some places, notably Ferrara, copies have
been substituted as altar pieces and original pictures in churches
have been rescued from the treatment to which they have been
exposed by ignorance, and from damp and the smoke of tapers.
Much however yet remains to be done, and if the frescos of the
Sixtine vault are undoubtedly the greatest work of painting
in existence, they are equally the greatest existing examples of
barbarous maltreatment and neglect.
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Chapter IX
N the death of Julius the Second, the Cardinal
Giovanni de' Medici was elected supreme Pon-
tiff the eleventh day of March 1513, and was
consecrated the 11th of the following April as
I Leo the Tenth. He had been promoted to the
dignity of Cardinal when only thirteen years old, and it was
also his fortune to be made Pope, at the early age of thirty- one.
There was much rejoicing on the part of those who antici-
pated a renewal of the splendour and luxury for which the
Medici were famous. Men of letters and Artists, remembering
the munificence of his father and his encouragement of litera-
ture and art, hoped that the son, educated in that father's house,
under the tutelage of Agnolo Poliziano, who had been surrounded
by every thing which could make similar tastes attractive and
who had associated on terms of friendship with Marsilio Ficino,
Pico della Mirandola and other eminent men, including his
schoolfellow Michelangelo, would equal his celebrated father in
his protection of genius.
13
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194 MICHELANGELO
His brother Piero, brought up with equal advantages, had
proyed unworthy; but Leo was of a different disposition and
capacity and loved the society of men of genius. His first pro-
ceedings as Pope were eminently conciliatory. He restored
peace to the church — so far as that could be done — by par-
doning the Cardinals who had provoked his predecessor, he re-
called Pietro Soderini from exile, released Machiavelli from his
bonds, and freed opponents of the Medici who lay in prison.
As was expected of him he confirmed Raffael and other emi-
nent artists in their employments in the Vatican and St Peter's,
and graciously extended to them his friendly notice; at the
same time, he did that which was most satisfactory to Michel-
angelo; leaving him in peace in his studio with the monument
of Julius.
The election of a Florentine as Pope induced his compatriots
to flock to Rome in search of preferment or emolument. Two
citizens only went there actuated by disinterested motives, and
these were Pietro Soderini, and Antonio Carafulla the capmaker
a notorius buffoon. The Pope to whom the presence of his
countrymen was made known in many ways, remarked, « that
amongst so many Florentine citizens he had found one only
who was supremely wise and that was Piero Soderini, and one
supremely foolish Antonio the cap maker, neither of whom asked
aught for himself or for the city. »
Florence at the time under Medicean rule manifested its sa-
tisfaction with the elevation of Leo, by sending an embassy to
congratulate him, composed of twelve nobles and citizens adhe-
rents of the Medici, which was as splendidly equipped as it was
niftnerous. The choice of Leo as Pope wtfs received not only
throughout Italy but the rest of Europe with approbation and
his Pontificate commenced under happy auspices.
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AND HIS WOEKS 195
Although Michelangelo was left undisturbed for some time to
go on with the sepulchre of Julius, it by no means follows that
there was any sympathy on the part of Leo for the commemo-
ration of his predecessor by the greatest sculptor of the age, but
the time however, had not yet come for any demonstration hos-
tile to the wishes of the heirs of the Rovere,- consequently Mi-
chelangelo was not interfered with. He had entered into a new
contract with the Executors of Julius, Lorenzo Pucci afterwards
Cardinal Santiquattro and the Cardinal Grossi Delia Rovere, 1
appointed by the late Pope to watch over the execution of his
monument
It has been said that before he died Julius expressed a wish *
that his sepulchre should be carried out on a more modest
plan than the first. An expression made use of at a later date
by Michelangelo is not consistent with this statement for he says:
< Aginensis (The Cardinal Grossi Delia Rovere) wished me to
go on with the tomb but on a greater scale. » a
A draft of the new contract, dated the sixth of May 1513
exists in the Buonarroti Archives, which shows that deductions
were made in the proportions of the monument. Although writ-
ten by Michelangelo it is not entirely to be depended upon. The
proportions given are inconsistent with the work actually ex-
ecuted. The document is probably a draft subsequently altered
in the plenary contract.
1 This Cardinal was Lorenzo Pneol a Florentine. He was promoted to that dignity by
Leo X. He mast be distinguished from Antonio Pucci made Cardinal by Clement VII and
from Roberto Pucci elevated to the same high rank by Paul III. All three were known
by the title of Cardinal di Santiquattro.
Aginensis was appointed Cardinal by Julius II in 1605.. His name was Leonard! Grossi
Delia Rovere, his title Cardinal St Pietro ad Vlncula. He was a son of a sister of Six-
tus IV.
1 The letter of Michelangelo from which this extract is made, was discovered In the
Magliabecchlan Library Florence by Signor Sebastiano Ciampi and was published by him
with valuable notes in 1884. He is of opinion that the above statement refers not to the
first monument designed during the life time of Julius but to the two posterior designs
which were to be on a less costly scale.
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196 MICHELANQELO
t
The monument was no longer to be isolated, but attached by
one end to the wall of the Church. The architectural basement
was retained in respect of its general features, of pedestals, niches
and cornice, but pilasters were to be substituted for the terminal
figures. The statues of this first order were to be Victories,
conquered Provinces and Captives as in the first design, and
were to be twenty -four in number and about six feet nine inches
high. The richly decorated basement is described as fifteen feet
on the face, twenty -six feet three inches on the flanks and only
ten feet six inches high. Manifestly erroneous statements. On
the platform of this first story the sarcophagus of the Pope was
to be placed with his statue upon it, and two figures were to
stand on each side of the head, and two on each side of the feet.
Besides these, there were included six sitting statues nearly
twice the size of life. Against the wall at the rear end of the
platform a chapel was to be built about twenty-six feet high,
adorned with five statues of still more colossal proportions than
those on the platform.
In addition to this list of forty statues, three reliefs were to
be executed either in marble or bronze, as the Executors might,
on consideration, select.
Signor Sebastiano Ciampi, who published Michelangelo's letter
explaining the history of the tomb of Julius, supposes that the
drawing in the Florentine collection, already alluded to, represents
this design. But if a scale be applied, it will be found not to
agree in a single detail with the description, nor with the mea-
surements given by Michelangelo. It cannot therefore be the
second design. It has been more commonly considered to re-
present the first as described by Condivi, but it differs in es-
sential particulars, especially in the number of statues. Neither
does it approach with any accuracy to the design for the third
contract, and consequently it can only be supposed to be one of
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AND HIS WOBKS 197
a variety of sketches made by the artist in the course of his
study of the subject, to be subsequently reduced to scale.
A peculiarity of the second design is the increase in size of the
statues, as they recede from the eye. Those opposite to it being
little more than life size, those only ten feet from the ground
(the ten appears to be an accidental error and should rather
be fourteen the actual height) are suddenly increased to nearly
twice the size of life, evidently more that the perspective dimi-
nution involved in that distance could require. The figures on
the Chapel were to be larger still. The statue of Moses is the
only one of those described in this second design, which was
executed, and its proportions agree with the specification, but the
figures of the Captives sculptured under this contract — which are
now preserved in the Louvre — are at least a foot higher than the
description givei, of them. The facade of the first stage of the
monument, as it is now seen, was executed under this second
covenant, as described by himself. « I took the marbles to the
Macello de' Corvi, and had wrought that side which is now set
up at San Pietro in Vincola, and I made the figures which I
have in my house. » 1 This is very distinct, he had the archi-
tectural part sculptured by assistants and made the statues
himself. Whilst engaged in this manner in his new work shop
in the Macello de' Corvi, he was visited by the celebrated painter
Luca Signorelli of Cortona and in the following narrative of their
interview, the statues are incidentally mentioned.
To the Captain of Cortona,2
« Captain, I being in Rome, in the first year of Pope Leo, Luca
of Cortona, the painter, came there ; and happening to meet him
one day, near Monte Giordano, he said to me that he had come
1 Letter by Michelangelo published by Sebastian CUmpi p. 3.
* Archives Buonarroti.
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198 MICHELANGELO
to speak to the Pope, to obtain I dont remember what; and that
he had been near having his head cat off, for the love that he
bore to the house of Medici; and that this appeared to him, so
to say, not to be recognized; and he told me other things of
the same kind, which I do not remember. And for these
reasons he asked me for a loan of forty Julians, and told me
where to send them, that is to say to the shop of a shoemaker,
where I believe he lodged. Not having the money in my
pocket, I had offered to send it to him and so I did. So soon
as I returned home I sent him the forty Julians by one of my
assistants either called or who is known as Silvio,1 who is now,
I believe, in Rome. After this perhaps not having been success-
ful, in his attempt, the said Master Luca, some days having
passed, came to my house in the Macello dei Corvi, in the house
which I still have, and found me at work upon 9 statue of marble,
erect with hands behind it, and four braccia * in height, and
lamented his case and asked me for other forty Julians, saying
that he meant to go away. I went up to my room and brought
him forty Julians, there being present a Bolognese man servant
then with me, and I believe that there was also the same assistant
who carried him the others; he took the said money and departed
with Gqd. I have never seen him again. I being at that time
unwell before Master Luca left my house, I lamented that I was
unable to work; and he said to me, « doubt not, for the angels
from heaven will come to assist thee. » I write this to you, for
if these things are repeated to Master Luca, he would remember
them, and would not say that he has repaid me, as your Signory
wrote to Buonarroto that he says he did, and more than this,
that you also know that he repaid me. This is to say that I
1 Silvio Falcone dell* Sabina Painter. The circumstance of a painter being thus al-
luded to by Michelangelo as a « Garsone » or assistant , suggests that this Silvio may have
been so employed in the Oapella Sistina.
* Seven feet seven inches.
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ONE or THE YOCNG MEN
ON THE CORNICE
8IXTINE CHAPEL
PI.ATF. 10.
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<;i''':AAfT'-l
STATUE OF A PRIHONEtt
FOR THE MONUMENT OF JULIUS II
PLATE 7.
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y
fa
*
!••*''
***** '
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AND HIS WORKS 199
am a great villain; as so it would be, were I to claim that which
has been already repaid, and I swear it. When your Signory
will do me justice, you can do it; but if not I must complain (?)
to the Captain. »
This is an unpleaseant story of the conduct of Luoa Signorelli
and exhibits him both as a knave and a hypocrite.
The letter is not a favourable instance of the conduct of Michel-
angelo. He had been overreached, it is true, but for the sake
of the great and kindred ability of the artist of Cortona, it would
have been nobler, had he overlooked the debt and the circum-
stances under which it was made.
Michelangelo entered upon the fulfilment of his new engage-
ment with the representatives of the late Pope Julius with all
the energy of his character. On the sixth of May, the date of
the second contract he received an advance of two hundred ducats
and in the course of this year 1513 he was further paid one
thousand two hundred ducats, which shows that his work was
proceeding to th^ entire satisfaction of the Executors. That this
zeal on the artist's part was not temporary is shown by the fact
that in the two following years the payments which he received
amounted to six thousand one hundred ducats, paid through Ber-
nardo Bini.
Precisely one year after the election of Leo and on the same
day, the eleventh of March, Bramante d'Urbino, the celebrated
architect died. It is for other pages to do justice to his genius
and his works, in these he appears chiefly as the enemy of
Michelangelo, an enmity of which there can be no question,
although the motives seem quite inadequate to account for it. It
does not appear that except by his intimacy with Julius, Michel-
angelo could have excited this feeling on the part of Bramante,
towards whom he showed no personal dislike. The enmity ma-
nifested was bitter and malignant and was supported by mis-
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200 MICHELANGELO
representation as shown by the letter of Roselli, whilst it dates
from a period anterior to Raffael's arrival in Rome, and therefore
in the first place had nothing to do with his devotion to the cause
of his great compatriot. If his jealousy of the one great artist and
regard for the other did not place them in opposition, it prevented
them from meeting on friendly terms. It was by an act of Bra-
mante that this indifference was changed into a feeling of anta-
gonism. The proposal that Raffael should replace Michelangelo
in the Sixtine, produced its natural fruits. Although Michel-
angelo did not at first complain of Raffael, it is certain that at
a later period he believed that his rival had taken a share in
the proposal, and he felt it bitterly.
If however Michelangelo when excited, sometimes expressed his
indignation in unmeasured terms, he was too noble in disposition
to permit the remembrance of injury to influence his conduct.
When in his turn he became Architect of St Peter's he did justice
to Bramante's design for it, and after Raffael's early death, he
refused all offers made to paint the last of th^ Stanze, the hall
of Constantine, and would listen to no suggestion to prevent the
Pupils of Raffael from carrying out the wishes of their master.
In 1514, whilst busy with the monument of Julius, Michelan-
gelo accepted a contract to execute a statue of the risen Saviour,
of life size, at the request of Bernardo Cencio, Canon of St Peter's,
Maestro Mario Scappini and Metello Varj. He undertook to
complete this statue in three years, with a reserve of one year
more in case of accidents. The price was fixed at two hundred
ducats in gold full weight, on which one hundred and fifty were
advanced in June. Michelangelo commenced this statue, and
had carried it some length, when veins appeared in the marble
and he abandoned it, sacrificing the labour and expense. He
recommenced and finished it afterwards at Florence, as will be
related in its place.
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AND HIS WOEKS 201
Michelangelo's letters written during the comparatively peaceful
and busy period from 1513 to 1516 either were not numerous,
or if so, must have been lost. The following written in 1515
shows the spirit in which the many benefits which he showered
" on his family, were received. « Buonarroto.1 Michele, the Carver
has come to live with me and has asked me for money to transmit
to his friends there » (in Florence) « which I forward to thee.
Go immediately to Bonifazio and he will give thee four broad
ducats, pay them to Meo Chimenti, who works in the office of
works,2 and hand him the letter inclosed and make him sign a
receipt with his own hand, that he has received them from me
for Michele, and send it to me.
The said Michele has explained to me how thou didst show
him that thou hadst expended sixty ducats at Settignano. I re-
member that thou didst say so to me here at table, that thou
lfadst spent many ducats. I pretended not to hear thee, and
I did not marvel, for I know thee. I believe that thou hast
written them down and that thou keepest an account so as to
demand them some day. I wish to know from thy ingratitude
with what money has thou gained these; and I would besides
know if thou also keepest account of those two hundred and
twenty-eight ducats which you s took of mine from Sta Maria
Nuova, and of many other hundreds which I have spent on you
and of the discomforts and hardships, which I have suffered to
aid you.
I would know if thou keepest account of these. If thou hadst
brains enough to understand the truth, thou wouldst not say:
1 On the back is written on the hand of Buonarroto 1518 from Rome the eleventh day
of August: of the 3rd day of July.
• Which means written 3rd July and received 11th August In the hand of Ludovico
is the following significant note. As to the 100 ducats which he gave to his brothers and
me, I never had them, »
- Of the Cathedral Florence.
' The. change of pronoun is as in the original letter.
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202 MICHELANGELO
I have spent so much of mine: nor wouldst thou have come here
to sollicit me about your affairs, seeing how I have acted towards
you in the past; on the contrary thou wouldst have said: Michel-
angelo knows what he has written, and if he does not do so
now, he must have some difficulty of which we know nothing
we must be patient, for it is not well to spur the horse which
runs as well as he can, and even more than he can, but you
have not understood and do not know me. God pardon you, for
He has given me grace to bear that which I bear, or have borne,
so that you might be assisted; but you will know when you no
longer have me.
I inform thee that I do not believe that I can be in Florence
this September, for I am hurried so that I have not even time
to eat. God grant that I may be able to support it: however, I
will as I can, make the procuration to Ludovico, as I wrote:
which I had forgotten, and I will put into your hands a thousand
broad ducats, as I promised you, so that with the money which
you have, you may begin to support yourself. I do not wish
any part of your gains, but I would wish to feel certain that at
the end of ten years, you, (should I be alive), should consign
to me in goods or money these thousand ducats when I desire
to have them; not that I believe that this will come to pass;
but should I have need, that I may have them again, as I
have said.
And this will be a check upon you, that you may not waste
them: therefore think and take counsel and write to me what
you will do. The four hundred ducats which you have had
from me, I wish to be divided into four parts, and that you take
one hundred each : and so I give them to you. One hundred
to Ludovico, one hundred to you, one hundred to Giovan Si-
mone and one hundred to Gismondo; with this condition, that
you cannot expend them otherwise than on the business. No
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AND fflS WORKS 203
more, show this letter to Ludovico, and determine what you will
do and write to me, as I have said. The thirtieth of July 1513.
Be careful to give the money which I send you to Michele.*
MlCHELAGNIOLO
Sculptor, Rome.
Apart from Michelangelo's complaint of the shabby and un-
grateful conduct of his brother and the evidence of his kind for-
giving and generous temper, this letter shows that at this time
he was so hard at work on the monument, that he had hardly
time to eat.
He also alludes to an assistant whom he employed and who
lived with him, Michele di Piero di Pippo, called Battaglino, 1 a
carver of Settignano; one, no doubt, of several then busy with the
different details of Michelangelo's great work, whilst he set them
an example of untiring industry.
There occurs a blank in the correspondence between July 1513
and March 1515, which is much to be regretted, as there is
therefore no notice from himself of the noble work, on which he
is generally believed to have been at this time occupied, the
statue of Moses. In the letter of March these words occur « should
I not have arrived there; (Florence) I think to depart tomorrow
the last day of March * » signed in the usual way at Rome and
received in Florence on the 5th of April 1515, Michelangelo then
appears to have visited Florence and to have staid a short time,
as the next letter dated 28th April 1515 says:
« Buonarroto, I have arrived safely in Borne thank God. » 8 He
then orders a stuff of which a piece of dress was to be made, and
1 Cavalier Oaetano Mllanesi. Letters of Michelangelo to his relatives.
* The Buonarroti Archives.
' Britsh Museum.
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204 MICHELANGELO
desires that three hundred and ninety ducats should be sent
from his deposit at Sta Maria Novella to Rome. At this time he
began to expend of his own on the monument. It appears that not
long after this, Michelangelo had reason to think that his work
might be interrupted; for on the 16th of June of the same year
he writes to Buonarroto « I wish you to go to the Governor of
the hospital of Sta Maria Nuova7 and that you arrange to pay
to my account here one thousand four hundred ducats of those
which he has of mine, for it is needful for me to make a great
effort this summer to finish quickly this work; for I think that
I must be at the commands of the Pope. 1 And for this I have
bought perhaps twenty migliaia of copper to cast certain figures.
Money is needful. »
This letter indicates that considerable progress must have been
made with the monument, as Michelangelo spoke so hopefully,
and it is also apparent that he was withdrawing large sums from
his banker in Florence to enable him to prosecute it more ra-
pidly. On the 7th of July he writes to Buonarroto to forward
the rest of the money at his credit, and he makes for the first
time mention of marble from Pietrasanta. « Although no de-
pendence is to be placed on Michele, still this thing which I
require I think he knows, that is, if I am to have marbles this
summer from Pietrasanta; for I learn from Domenico Bonin-
segni that he hears that the road is nearly done: say however to
Michele that he answer me. Nothing more. Mind your affairs
and especially your soul, for this now seems necessary. » Mi-
chele had been sent to excavate marble, and this letter makes
the first allusion to an enterprise, and to public works, which
afterwards involved much trouble and personal sacrifice to Michel-
angelo. The rediscovery had been made of a good quality of
1 This the cavalier Gaetano Milanesl in a note to one of the letters of Michelangelo to
his family, thinks shadows out the coming project for the front of S. Lorenzo.
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AND HIS WORKS 206
marble near Serravezza, which is not far from Pietrasanta and
in Tuscan territory. Both Pope Leo and the Cardinal Giulio
de'Medici took a deep interest in this, for they foresaw a profitable
trade in marble in opposition to that of Carrara, and the wealthy
corporation of wool traders in Florence undertook to make the
road from the new quarries to the sea. On the first of the same
year Michelangelo again writes to Buonarroto that he had great
need of marble, and that he could not go personally to Carrara.
The work doubtless of the monument was being actively carried
on. On the fourth of August, Michelangelo returns earnestly to
the subject of a supply of marble, and on the eleventh he thus
writes:
« Buonarroto, By your last I learn, that the Governor of the
hospital had not yet realised my money: this seems to me a bad
sign: I am afraid that I may have to attack him. Since I
returned here (from Florence) I have not worked: I have only
attended to the making of models and to putting the work in
order, so as to be in a position to make a great effort to finish
it in two or three years by the aid of assistants : and so I have
bound myself, and I have incurred great expense trusting to the
money which I have there: 1 believing to have it to my order,
as reason and usage hold with deposits, and were it wanting to
me, I should indeed be in a scrape. » * These expressions show
clearly not only how earnestly Michelangelo worked at the mon-
ument, but what was the nature of his proceedings and of his
anticipations. At this time he was not working in marble, he
was directing the formation of models, and he intended to employ
as many assistants as might be necessary to execute the work
within a given time. He withdrew funds from his bank in
1 At Florence.
* Buonarroti Archive*.
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206 MICHELANGELO
Florence, to purchase large quantities of metal for the bronzes.
How different all this is from the usual statements regarding
the solitary worker. He is found adhering to the customs of
artists of his time, employing artists and carvers to aid him,
and trusting to the hands of others to enable him to complete
his contract.
He was in correspondence with an eminent sculptor surnamed
Zara, 1 whom he mentions as anxious to serve him. At a later
period he did so, acting as agent for Michelangelo at Carrara
and giving orders in his name/ as appears in a document dated
the 13th of November 1522, preserved in the Archives of the
Commune of Carrara. 2
Towards the close of 1515 Michelangelo undertook to paint a
picture for Pierfrancesco Borgherini;8 in a letter to Buonarroto
he thus expresses himself: «Know, that I have no wish to give
trouble or annoyance of any kind to Pierfrancesco Borgherini,
for I wish to be as little under obligation as I can, seeing that
I have promised to do for him something in painting, and it
seems to be thought that I demand payment in advance.; but I
will not do it as a matter of business, but because I like him,
and I will take nothing from him, for love and not for business,
I shall serve him more willingly than I ever served any one
for he is a worthy youth. » 4 Michelangelo notwithstanding his
good will was unable to execute the picture and recommended
1 Buonarroti Archives. Lo Zara da Settignano, whose name was Domenieo. The Ca-
vallere Mllanesi believes him to have been Domenieo di Sandro dl Bartolo Fancelli, a
good sculptor born in 1469 and died at Saragozza in Spain in 1519. Domenieo was the
sculptor of the noble monument In the Church of St Thomas of the Dominicans of Avila
to the Prince Johau only son of Ferdinando the Catholic. He was commissioned on the
15th of July 1518 to sculpture a monument for the Cardinal Ximenes for the price of
9100 dueats in gold, but he died before beginning it.
* According to signor Frediani in his « Ragtonamento sulle gite di Michelangelo* to
Carrara, who quotes from the Communal Archives of Carrara the name of Messer Pietro
da Corano,* whom he in a foot-note describes as having made the famous tomb of Avila
as may be found registered in the Archives of the notaries of Carrara.
" Banker in Rome.
* Buonarroti MS. British Museum.
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AND HIS WORKS 207
that Andrea del Sarto should be employed, with which sug-
gestion Borgherini was not well satisfied. However he ordered
of Del Sarto, Pontonno and Granacci some pictures for the de-
coration of a room. Four of these are now in the Florence
and Pitti Galleries, having been purchased in 1584 by the
Grand Duke Francesco: the two by Del Sarto for three hundred
and sixty crowns, and the others by Pontonno for ninety.
In 1515 it was diplomatically arranged that Leo the tenth
and Francis the first, king of France, should meet at Bologna
to consider their mutual interests, and to cement such friendship
as could in those days subsist between princes.
Michelangelo briefly alludes to this meeting in a letter from
Rome, dated the sixth of November 1515. « The Pope has de-
parted from Rome, and it is said here that he goes to Florence. »
To describe this visit to Florence has been a favourite theme
with numerous writers of more or less reputation, but the unpre-
tentious account of it addressed to Michelangelo by his brother
Buonarroto is the most appropriate to these pages. Buonarroto,
as a member of the Municipality of Florence, accompanied
the papal cortege from Florence to Bologna and back again, he
thus writes:
« Most dear. To give thee news of something from this place,
especially of the arrival of our Lord the Pope, although I know
that such things interest thee but little, still having time to
spare, I write thee four lines, and although I believe that thou
hast heard of these things, still I write. As I certainly believe
our Holy Father entered Florence on the thirtieth of Novem-
ber 1515, St Andrea's day. He was received with the greatest
respect, and the noise of loud cries of Palle, so that the world
seemed turned upside down, and thus he entered with a great
Court and extraordinary magnificence, with many of the citizens
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208 MICHELANGELO
pt Florence, and in good order. Amongst others there were
certain of youths selected from amongst the first in the land, all
dressed in uniform with doublets of violet satin, all made in the
same manner, and with gilt staves in their hands, these going
before his throne, which was a beautiful sight. Before the Pope
was his guard, then came his grooms who carried him under a
rich canopy of brocade, which was supported by cardinals, and
round the throne was the Signory. Thus amidst that people;
he was carried to Santa Maria del Fiore with infinite devotion,
where at the High Altar he went through certain ceremonies.
Thence in the same manner he was conducted to the Hall of
the Popes, but before leaving the church he gave plenary indul-
gence to all then present, and I may tell thee, that there were
many of the people. By the time that he reached the hall, it
was evening, and the court and others were licensed. On the
following day, which was Saturday, the Signory visited him, and
all kissed his foot; and the gonfaloniere having spoken, we
obtained license and returned to the palace. There was no rest
to the sound of bells and firing for three days, and there were
great triumphal arches in ten places, which were handsome, and
also an obelisk at the end of the Trinity Bridge, and the front
of Sta Maria del Fiore was well done. In so much as this was
a very great festival, so the poor received alms, and from the
door of the Hall of the Pope a great deal of money was thrown,
and he left much to be given away, and thus the Carpenters and
Painters made a good harvest, except poor Baia, who being in
the Piazza, where an arch had been constructed by him iwith
Sangallo, and whilst talking with a friend, a piece of artillery
being fired, an iron wedge from the carriage struck him under
the knee and broke his leg, which they had to saw off, and so
in four days he died. This was the only misfortune attending
these festivals.
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AND HIS WOEKS 209
Then on the third of December he departed and went to Bo-
logna arriving there on the eighth, and on the eleventh the king
entered Bologna, and having entered, he went at once to visit
the Holy Father, and kneeling, he kissed his foot with great
respect, and on the thirteenth mass was sung in St Petronio
the day of Sta Lucia, and the -first who presented water for the
hand washing, was a great French gentleman, called Monsignore
de Lauson, and the second Monsignore di Bordone, and the
third the grand master of the king and the fourth the king
himself. And in the evening the king supped with the Pope,
and served him with water for his hands, in that showing his
obedience, and these have been -held to be great things, but I
do not describe all, lest I should be too long. On the fifteenth
the king departed and went towards Milan, and on the eight-
eenth the Pope set out for Florence, and entered it on the
twenty -second which was Saturday. On Christmas day mass
was sung in Sta Maria del Fiore, which was very fine. The
Signory attended and when the mass was said, it was the privilege
of one of them to present water for the Pope's hands; this fell
to Giannozzo Salviati, and inasmuch as it fell to me to be pro-
posed, I had to go the second to present the water to the Pope,
the third time it was the Duke of Camerino, the fourth it was
Piero Ridolfi the gonfaloniere of Justice. The said mass being
thus ended, the Pope with much ceremony made a gift to the
Signory, or rather to the Palace of a handsome sword adorned
with gold and silver, and with it a Berret of gray velvet em-
broidered with pearls, as symbols of Justice; then accompanied
by many Prelates and chaimberlains we returned to the Palace. »
Buonarroto de' Buonarroti Simone being one of the Priors, he
received like others of the Signory the privilege of bearing the
balls and fleur de lis on his shield of arms and the title of
Count Palatine.
14
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210 MICHELANGELO
During the Pope's stay in Florence, he visited San Lorenzo the
church of his ancestors, which contained the sepulchre of his
father, over which he was seen to shed tears. It was after this
visit, that he resolved" to complete the fe$ade of the church with
unexampled magnificence, it having been left like those of so
many other churches in Florence in an incomplete state. San Lo-
renzo was built by the orders of Cosimo de' Medici « The father
of his country » from designs by Filippo Brunelleschi. The
interior is handsome, but somewhat cold in effect, increased by
tasteless modern colouring, whilst the general appearance is
• further depreciated by a false ceiling. The front, notwithstanding
the resolution of Pope Leo that it should be finished in honour
of his father, is still a black heavy mass of rubble wall, a fitting
monument of a sad portion of the history of Michelangelo.
Having made up his mind to erect a front of more ample
magnificence at a time when the Medicis were at the height of
their power, Leo's first idea was to partition the execution
amongst a number of artists. Raffael d'Urbino, who had been
invited to accompany the Pope to Florence, was commissioned
to make a design, as were Baccio d'Agnolo, Giuliano da Sangallo,
Andrea and Iacopo Sansovino. Michelangelo's labours on the
tomb of Julius were interrupted, and he also was called upon to
prepare a design. . The learned Cavaliere Gaetano Milanesi
thinks that the wish to complete the front of San Lorenzo pre-
sented itself to the mind of the Pope so early as June 1515, when
Michelangelo wrote to his brother that he anticipated being em-
ployed by the Pope, x and must therefore make a great effort to
finish the monument that summer. Whether this be an accurate
surmise or not, Michelangelo made a design which was preferred
to those by other artists. His victory is the more remarkable
that this was his first important architectural design. The ver-
1 Letters of Michelangelo to his family. Edited by Gaetano Milanesi, p. 115, fort note.
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AND HIS WOKKS 211
satile powers thus evinced cannot seem to us, in those days, less
than marvellous. During the current of his history up to this
period, when he was thirty years of age, there is no indication
of the devotion of any part of his time to the study of architecture,
nor does the architectural part of his sketch for the tomb of
Julius show either much invention or aptitude. The details are
common place, and there is not a trace of measured geometric
proportion. Even a cursory examination of the drawing shows,
that the artist did not consider, how harmony of detail was to be
united with practicability of execution. During the time which
elapsed between making the sketches for the monument and the
design for the front of San Lorenzo, Michelangelo observed and
studied the monuments of ancient architecture, and his appre-
ciation of them is indicated in his sharp attack Upon Bramante,
for his irreverent and scandalous destruction of the ancient
columns of the Basilica of St Peter's. Michelangelo was opposed
to a number of eminent artists, including Raffael, who had studied
architecture under the direction of Bramante. His success proved
to be one of the most unfortunate events of his history, for it led
to the enforced breach of his contract with the powerful family
of the Delia Rovere. The defeated artists, or most of them became
his enemies, and he was compelled by the Pope to spend a great
deal of his time in the defiles of the Carrara mountains, opening
new quarries, making roads, and devoting his time to occupations
beneath him as an artist. Leo evidently disliked the presence
of the independent and plain spoken Michelangelo at his refined
court, and kept him from it by employing him at a distance; a
stain on the Popes reputation, and in a secondary degree on that
of Cardinal Giulio de' Medici, afterwards Pope Clement, which
nothing they did for art, can lessen or remove.
It was natural that Michelangelo should resent the treatment
to which he was thus subjected. The stoppage of his favourite
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212 MICHELANGELO
work, with all its consequences and pecuniary loss to him, and
finally after all his labour in the quarries, the abandonment of
the scheme for completing San Lorenzo, led Michelangelo in the
bitterness of his heart to write : « Pope Leo desiring that he
should not make the monument (of Julius) pretended to wish to
erect the front of San Lorenzo in Florence. » That Leo was in-
different to the progress of the monument was evinced by his
conduct, but that he only pretended to wish to erect the front
of San Lorenzo seems an extravagant assertion.
If the drawing which exist in the Gallery of the Ufizi at Flo-
rence, and the model «aid to be by Baccio d'Agniolo, which pre-
cisely resembles this drawing, really represent the fa§ade .of
San Lorenzo as proposed by Michelangelo; Florence and archi-
tecture have lost nothing by the failure to execute the design, nor
is it possible to understand how the other architects, competitors
with Michelangelo, could be beaten by this feeble conception,
which is so unworthy to be the completion of the work of Bru-
nelleschi. A circumstance which throws doubt over this draw-
ing and the model, is the absence of provision for bold groups
of sculpture, which would have been certain to characterize a
design of Michelangelo. It is in a thin timid fifteenth cen-
tury manner without a shadow of the breadth and grandeur of
Michelangelo's subsequent style, has no relation to the form
of the actual front of the church, and is as poor in detail as
it is ill conceived in the general mass. The drawing in the
Buonarroti mansion is a better design, and may be accepted
with far more probability as by Michelangelo. Sculpture plays
an important part, and it is altogether grander in its general idea.
It is not apparently drawn to measurement, at all events not
with any care. The space left for the central doorway is too
small and other parts of the drawing do not harmonize with each
other, nor with the shape of the actual building. In this design,
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AND HIS WORKS 213
as in the other attributed to him, Michelangelo departed from the
constructive form of that by his great predecessor Brunelleschi,
and proposed to erect a front of a totally different character
from the original architecture of the church of St Lawrence.
His example has been followed in numberless instances by other
Italian Architects, of high reputation, but in this, they also re-
sembled the great medieval church builders who almost invariably
made their additions in the style prevalent in their time however
unlike it might be to that previously followed. In medieval
architecture this did not produce the discordant effects observable
in that of the renaissance. Under any circumstances it would
have been impossible for Michelangelo to limit his ideas of design
so as to imitate the somewhat timid and arid details of Brunel-
leschi, whose adaptations of classic forms were very imperfect.
After the decision in favour of Michelangelo's design, no im-
mediate effect was given to it, and he continued his work on
the monument of Julius without interruption till the close of 1516.
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Chapter X
t this period of the history of Michelangelo, it
is more than ever necessary to prooeed with
caution amidst conflicting statements. The will
of the Pope, the interests of the Delia Rovere,
and the wishes of Michelangelo, arrayed on
the side of the latter, came into conflict, but arbitrary power
triumphed.
The appointment of Michelangelo, as sole architect and sculp-
tor of the new front of San Lorenzo, and his consequently ne-
cessary residence in Florence, except when in the Carrara
mountains, were of threatening augury to the progress of the
monument.
When in addition he was compelled by the policy of the Pope
to superintend the opening of new quarries and road making,
his power of fulfilling his contract with the Executors of Julius
was further impeded.
It was impossible to escape the conviction that the completion
of the monument was postponed, whilst the expenses were to be
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216 MICHELANGELO
seriously increased by the transfer of the works in progress from
Rome to Florence, although the Pope did something as related
by Michelangelo to diminish that outlay.
In the struggle against the power of the Pope, the Executors
introduced a provision into a new contract which Michelangelo
accepted, namely that he should undertake no new commission
till the monument was completed. 1 This engagement proved
futile and was entirely disregarded by Leo.
During the peaceful period which elapsed between the death
of Julius and the close of 1516, Michelangelo made considerable
progress with the monument, to which he devoted his whole at-
tention. As has been already stated, and as he has himself re-
corded, the front of the architectural basement now in San Pie-
tro in Vincola was executed, so were the statues of Captives,
now in the sculpture Gallery of the Louvre, * and it may also
be believed that the greatest of Michelangelo's, as of all modern
works, the statue of Moses, was sculptured at this time, being then
intended to form one of the group to be placed over the cornice
but now occupying so different a position in the Monument.
Michelangelo's purchase of a large quantity of copper indicates
that the models for the reliefs, which formed part of his second-
design, were ready for casting.
The victory which Michelangelo achieved in the competition
for the front of San Lorenzo, over rivals of such celebrity in
the arts, does not appear to have raised any doubt on his part,
that his work in the monument might be interfered with, for in
the autumn of 1516 he went from Rome to Carrara to purchase
marble to be conveyed to Rome. Such indeed was his confidence
at this time, that towards the close of October 1516 he took up
his residence in the house of Francesco Pellicia, contemplating
1 This appears to be alluded to in his letter of the 14th of August see ante.
* Catalogue of the Louvre < Sculpteurs Itallena xyi Steele » n. 98 and i*.
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AND HIS WORKS 217
a stay of some months at Carrara. On the first of November
he entered into a contract with the same Pellicia 1 to supply
four blocks of marble for statues, each measuring eight feet seven
inches in height, and four feet five inches in width and depth,
precisely the proportions requisite for making the five sitting
statues, which with that of Moses were to occupy the platform
over *fce cornice of the second design. As six were required,
either Michelangelo possessed a block for the sixth or delayed
the order.
At the same time fifteen blocks were contracted for, nearly
eight feet six inches high, about a foot more than the height of
the two statues in the Louvre, * but it is fair to assume that the
rough blocks were ordered of a size in excess of the finished
work. As ten only were required for the Captives, some of these
may have, been intended for the figures of Victory to be placed
in the niches.
The fact that these blocks of marble were ordered at this
time, shows that the general provisions of the second contract
were still in force.
Whilst Michelangelo was busy at Carrara, he was alarmed
by letters from Buonarroto informing him that his father was
attacked by dangerous illness. On the receipt of the second of
these letters, he thus wrote to his brother:
c Buonarroto, I have learnt from thy last two letters, first that
Ludovico was about to die, and how afterwards that the doctor
said, that if he had no other attack, he was out of danger: since
it is so I shall not leave this for Florence, for it would incon-
1 Archives of Carrara cited by Frediani Receipt of Francesco Pellicia for one hundred
dneata in advance for nineteen figures the marble to be taken from his quarry.
* In the official Catalogue these statues are given as two metres and fifteen centimetres
seven feet and half an inch : whereas Michelangelo says four braccia or two metres
thirty two centimetres, seven feet seven, which is very nearly the height of the Captive
with one arm raised.
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218 MICHELANGELO
venience me greatly: but if he is again in danger, I would by-
all means wish to see him before he dies should I die with him:
but I have a good hope that he will be better, and therefore I
do not go : but should he again fall ill, from which God preserve
him and us: arrange, that nothing whatever is wanting to him
needful to his soul and of the sacraments of the church : and
let him settle what we shall do for the good of his soul. #>fthe
things needful. for the body see that he wants for nothing; for
I have laboured but for him, to aid him in his needs before he
dies.. Arrange so, that thy wife shall attend him lovingly. I
will restore to all of you whatever is required. Have no hesi-
tation to take from what we possess. Nothing else occurs to me.
Peace be with you and advise me, for I am distressed and in
much fear. *
The twenty-third of November 1516.
HlCHELAGNIOLO
Sculptor, Carrara.
The proceeding* of Michelangelo at Carrara were now inter-
rupted by a summons from the Pope to go to Rome: he has
himself recorded what took place. « Being at Carrara for my
affairs, that is for marbles to be transported to Rome for the
sepulchre of Pope Julius in 1516, Pope Leo sent for me on ac-
count of the front of San Lorenzo, which he wished erected in
Florence. Consequently I on the first of December left Carrara
and went to Rome, and there I made a design for the said front,
upon which Pope Leo commissioned me to cause to be quarried
at Carrara the marbles for the said work. After which I having
returned from Rome to Carrara the last day of December, Pope
Leo sent me there for the excavation of marble one thousand
ducats by the hands of Iacopo Salviati, which were brought to
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AND HIS WORKS 219
me by a servant of his called Bentivoglio, and I received the
said money about the eighth of next month, that is January, and
I gave a receipt. » l
On arriving in Rome, Michelangelo by desire of the Pope laid
before him the plans prepared for the front of San Lorenzo,
which were finally agreed upon, and he was directed to establish
himself in Florence and at Carrara when necessary, and to go
on with the work. The Executors of Julius protested in vain
against this enforced rupture of their contract with the sculptor
of the monument, who also in vain pleaded his enagagement to
the Executors. The Pope assured him that he would settle that
with the Executors, but all that he would sanction was, that
the marbles should be taken from Rome to Florence, and that
Michelangelo should be allowed to proceed with them at in-
tervals.
The effect of these arbitrary proceedings on the interests of
the Delia Rovere and the artist may be estimated, when it
is considered that large sums had been advanced and disbursed,
that Michelangelo had withdrawn from Florence a considerable
portion of his savings, which in his confident belief that the work
would not be interfered with, he had expended upon it. A new
workshop had been provided in the quarter of Trevi, and the
marbles conveyed thither from the Macello dei Corvi at consi-
derable outlay. It was now proposed to move them or important
parts of them to Florence, a proceeding certainly attended with
risk and heavy expense, whilst the models ready for casting in
bronze must be sacrificed. At all events nothing more is heard
of them. All engagements with assistants and workmen had to
be dissolved with loss to every body. In fine that which may
be termed an extensive business was broken up. No wonder that
under these circumstances the Executors weire grieved and mor-
1 British Museum Buonarroti MSS.
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220 MICHELANGELO
tified, and that Michelangelo is said to have shed tears of vexation.
It seems a mockery that the Pope should, as a special favour,
have proposed to forego the duties chargeable on the marbles
to be transported to Florence!
Michelangelo visited Florence on his way from Rome; on one
of these occasions his father, of feeble intelligence and easily
swayed by mischief makers, suddenly left his house and retired
to his villa at Settignano. The letter which Michelangelo then
wrote to him, is an instance amongst many of his filial tender-
ness of sentiment and christian spirit.
c Dearest Father. I have been much surprised by your
conduct the other day, when I did not find you at home: and
now hearing that you complain of me, and that I have driven
you away, I wonder much more: for I know in my conscience
that since the day of my birth till now, it never has occurred
to me to do anything great or small against you, and all the
labour that I have undergone has been for love of you, and
since I returned from Rome, you know .that I have always
united myself with you, and you also know that I have con-
firmed you in what I have; yet it is not long since you were
offended, when I said and promised to you never to fail in aid-
ing you with all my strength, whilst I live, and again I af-
firm it.
It surprises me, you so quickly forget all; you have had
experience of me now for thirty years, you and your sons, and
you know that I have thought and acted always for your well
being whenever I was able, how can you go about saying that
I sent you away? Do you not see the mischief which you do
when you say that I drove you away? No more is wanting to
fill the measure of &U my other troubles, all endured for love of
you. You do not make me a good return. Now let it be as
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AND HIS WORKS 221
you desire, I will assume that I sent you away, that I have
caused you shame and vexation, and for all these things I ask
you to pardon me. Consider this as pardoning a son who has
led a bad life, and done you all the evil possible in this world,
and so again I ask you to pardon me as an ill doer as I am,
and do not give me the reputation of having driven you away,
for it imports me more, than you may believe. I also am your son.
The bearer of this will be Rafaello da Gagliano. I beseech
you for the love of God and not for mine that you come to
Florence, for I must go away, and I have that to say to you
which is important, and I cannot go up to Settignano. As I
have heard from Pietro l who lives with me, from his own mouth
certain things which do not please me, I send him this morning
to Fistoja, and he shall not return to me, for he shall not be
the ruin of our home: and as to you all, who knew that I was
not aware of his behaviour, you ought long since to have infor-
med me, and such a scandal would not have taken place.
I am anxious to go," but I cannot till I have seen you in your
home and have spoken to you. Therefore I beseech you to
suppress your angry feelings and come back. » 2
Oppressed with care Michelangelo returned to Carrara. It
can only be a matter of surmise, but it is highly probable, that
he requested Pellicia to pause in the preparation of the marbles
for the monument of Julius. Under the circumstances this would
have been but common prudence; justified by the necessity
which he soon was under, and which he must have foreseen of
abrogating his contract for the blocks, which he did on the
seventh of April 1517, receiving back the hundred ducats he had
advanced, which would hardly have been the case, had any of
the marble been supplied.
1 Pietro d'Urbano Michelangelo's assistant.
* Buonarroti MSS. British Museum.
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222 MICHELANGELO
Both the Executors and the artist appear to have seen that
the monument could not now be carried on under the provi-
sions of the second contract, and they entered upon a third
by which the design was again altered and the proportions of
the statues diminished, which is enough to show that whatever
its date, it could not have been drawn out before the bargain
with Pellicia in November, in which the proportions of the second
design were adhered to.
A model was made, the width of which is stated at twenty-
one feet, after the marble monument had been already sculptured
of a width of almost twenty- three feet. The architectural design
was adhered to with the same pedestals and niches and the same
crowning cornice of the first story. There were to be six statues
in front, but the conquered Provinces were now dispensed with.
It may have been felt that the time was past to embody them
in marble. There was now also to be one niche only on each
flank, so that the projection of the monument from the wall was
reduced more than half, and there were to be only twelve sta-
tues beneath the cornice and one relief, instead of twenty- four
statues and three reliefs. This was a great reduction of the
pomp of the design, a great diminution in the number of the
captive liberal Arts, and a still greater reduction of the number
of Victories.
On the summit of this basement a shrine was to be erected,
within which was to be placed the effigy of the Pontiff on his
sarcophagus, with two heavenly guardians only. There were to
be also only four sitting figures, stated to be six feet eight inches
high, but a new feature was introduced, being a sitting statue
of our Lady on the summit, seven feet seven inches in height.
Bronze reliefs placed above the heads of the sitting figures
were to decorate the shrine, and three others were to be placed
in other parts of it.
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AND HIS WORKS 223
The whole of the statues described in this third contract
amount to nineteen, instead of forty included in that of the
agreement of the sixth May 1515.
The most remarkable features of these successive contracts are
the departure from certain fixed proportions both of the archi-
tectural parts and of the statues, involving a serious loss of
outlay and of work. By the change made in the proportions
of the statues to be placed on the pedestals, those of captives
executed in the Macello de'Corvi were apparently to be sacri-
ficed. The new sitting figures are described as one foot shorter
than that of Moses, therefore it also was to be puf on one side.
The two standing figures, now on the tomb as it is seen in San
Pietro in Vipcola, are precisely of the proportions specified in
this contract. These proportions therefore cannot be got rid of;
they remain inexplicable; but these changes show on the part
of the artist a singular indifference to his personal interests, and
readiness to embrace new conditions of labour.
As the architectural part of the design, as it is now seen,
was completed by this time with at least three statues, and as
large sums had been already expended on these works, it is
difficult to understand the sacrifice made, both of work and
outlay. Yet that it was made is certain. The statue of Moses
was finally adapted to the monument, but was placed on the
first stage, instead of over the cornice. The statues of Captives
executed before this date and ranking amongst Michelangelo's
finest works, were afterwards put aside, and finally given away.
This subject of the monument must again be frequently
referred to, for it is not a mere episode in the life of Michelan-
gelo, which might be told and then parted with. It permeates
a great part of his life, its turbid current sweeping along and
embittering his existence, injuring his health, impairing his
prosperity, driving him into extravagant acts of self sacrifice,
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224 MICHELANGELO
even momentarily darkening his moral perceptions. He was
the victim of the unscrupulous jealousies of the successors of
Julius, although in the first place of the incredible arrogance
and self-love of that Pontiff, who could invent such a memorial
of himself, for it is evident from its history that all the ideas
which pervaded it, could not have originated with Michelangelo.
It becomes of the highest interest to observe how Michelan-
gelo employed himself at Carrara in his new office of architect*
There can be no reasonable doubt that he gave himself with
his usual energy to the preparation of working drawings and
models.
Hitherto he had been comparatively unknown as an architect,
and as by the arbitrary will of Julius he had bepn compelled
to become a fresco painter, now by an equally despotic exercise
of power, he was forced to study practical architecture.
His mind was so constituted, such was his genius and his
perseverance, that as we have seen him in the Sixtine struggling
with the difficulties of an art, which he repeatedly said « was
not his profession, » and conquering them, so now we find him
at Carrara mastering the details of another and still newer
profession.
Blocks of marble for columns, cornices and other details of an
architectural design, are not ordered fortuitously, but are cut
from the quarry and hewn according to measurements and work-
ing plans supplied by an architect. It was therefore necessary
before ordering the excavation of these, and the subsequent
work upon them, that Michelangelo should prepare drawings or
models to scale, and if before he had not studied these practical
details, it became needful to do so now. Some time elapsed
between his arrival from Rome and his first orders for marbles,
and that he was engaged in the studies and preparations sug-
gested, is proved by a letter to his brother Buonarroto, dated
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AND HIS WORKS 225
the thirteenth of March 1517, which shows clearly that he was
engaged in the manner supposed. « I do not expect to go there
(to Florence) for several months, for I have had a commission
from the Pope to erect the front of San Lorenzo; as you may
have heard. There is no need that I go to see that Baccio d' Agnolo
hastens the model, for I have made one in my own way.... and I
have no more need of him.» * He had commissioned Baccio to
make a model for him, distrusting his own experience of detail,
but that architect was unwilling to make it or was dilatory, and
Michelangelo set to work himself in Carrara. Thus it may
reasonably be assumed, that although his enforced labours at
Carrara and Serravezza have usually been considered a waste
of his time, he in reality employed it usefully, and there laid
the foundation of that practical knowledge of architecture
which enabled him subsequently to distinguish himself as* an
architect, and finally to erect the boldest structure of his or of
any preceding age, the Cupola of St Peter's. His genius and
industry turned to good account his enforced stay in the marble
quarries.
At Carrara then the subject of architectural design and
structure occupied his thoughts. If his attention was for a time
diverted from sculpture aEd painting, it was earnestly given to
the study of practical architecture under advantageous opportu-
nities. He witnessed and directed the transport of heavy weights
and the preparation of the necessary machinery. He learnt to esti-
mate the cost and value of work and of materials, and he thus
undoubtedly derived great advantages from his enforced residence
in the Carrara mountains.
To x appreciate accurately the conduct pursued towards him
by the Pope and his advisers, it must be remembered in the
« Consequently the model in the Academy at Florence ascribed to Baccio cannot be
his as he evidently did not make a model.
15
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226 MICHELANGELO
first place, that it was the usage of the age, whatever may be
thought of it now, that a sculptor should visit the marble
quarries of Carrara, to select the marble which he required, to
contract with the quarrymen, to direct the blocking out of his
proposed statue, which was done from his drawings, and Michel-
angelo also sometimes worked himself when there, and so by
a certain amount of preparation diminished the weights of the
blocks to be transported. All this a sculptor might do, the
conditions being favourable, and in doing so he did nothing in-
consistent with his profession or status, he could command the
services of the most skilled workmen then in Italy, and was
not called upon to consider or devise means of transport, but
only to employ those ready to his hand.
But it was a very different thing, when after the attention
of the Pope had been drawn to the advantages to Tuscany of
excavating marble on Tuscan territory, that he should give
orders to Michelangelo to proceed to the defiles and bare mount-
ain slopes above Serravezza in search of marble in quarries
long abandoned and from which there were no roads, where
there were no skilled workmen, and should have thus constituted
him Engineer and road maker, in fine quarryman.
It may be doubted, whether in the history of art there may
be found a comparable instance of so cruel a disregard of the
claims of genius, of so pitiless an indignity as the unworthy
labour forced upon Michelangelo by the despotic will of Leo X.
His letters and those of his friends will show what was thought
at the time of this tyrannous abuse of authority and of this
unpardonable waste of Michelangelo's talents. He protested
but in vain against his employment in the new quarries, for he
saw clearly that whilst the monument of Julius must be in-
definitely postponed, it would be long before marble in sufficient
quantities could be got ready for the front of San Lorenzo.
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AND HIS WORKS 227
It also seems that he did not think the marble of such good
quality as that of Carrara. Time has proved that this was an
error of judgment, and excellent marble for the purposes of
sculpture is now found in the quarries of Serravezza. l
Michelangelo continued his contracts with the Carrarese, whilst
he prepared to excavate elsewhere. They regarded with the
utmost disfavour the opening of the new quarries, and accused
him as- the author of proceedings so hostile to their interests. On
the other hand the Pope and Cardinal Giulio de' Medici taxed
him with partiality towards the Carrarese, and of hostility to
their plans for promoting a trade in marble on Tuscan territory,
and by order of Leo, the Cardinal thus addressed him :
c We have received your letters and shewn them to our Lord,
and considering your proceedings, calculated to be in favour of
Carrara, you have caused no small surprise to His Holiness and
to us, because your opinion does not correspond with what we
have heard from Iacopo Salviati, who has visited the quarries
and marbles of Pietrasanta with a number of intelligent masters,
and he points out that there are marbles in great quantities, of
fine quality and easily transported; which being the case, we
suspect that you desire for your own convenience to vaunt the
marbles ef Carrara, and to discredit those of Pietrasanta; which
you certainly ought not to do, seeing what faith we always have
placed in you; therefore we say to you that postponing every
1 It had been pointed out to the Pope that marble of an excellent quality might be
excavated near Serravezza on Tuscan territory. Quarries had been worked there before
and abandoned, and it was now proposed to reopen them. On the eighteenth of May 1515
the Commune of Serravezza deliberated as to the gift of territory within it to Florence,
especially the Monte Altissimo and the Monte de Oeraxola with sufficient land to make a
road to the sea shore.
Both Pope Leo and the Cardinal Giulio de* Medici saw such advantages to the interests
of Tuscany from the opening up of the quarries that they warmly supported the scheme.
One of the great corporations of Florence, the wool Staplers, undertook in the general in-
terest to make the road from the mountains to the sea, and Pope Leo subscribed a thous-
and florins to the expenses.
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228 MICHELANGELO
consideration His Holiness wills that in all the works which are
to be done for St Peter's, for Santa Reparata (the Cathedral of
Florence) and for the front of San Lorenzo, the marbles are to
be taken from Pietrasanta and from no other place, for the
above mentioned reasons, and above all that it is understood that*
they will cost less than at Carrara, but even should they cost
more, in every way, His Holiness desires that thus it be done to
direct and conduct the business of Pietrasanta for the public
good of the city; therefore see that you execute what we have
commanded; and do not fail, for to act otherwise would be con-
trary to the will of His Holiness and ours, and we should have
cause to be dissatisfied with you. Our Dominic is to write to
you to the same effect, reply to him when you have occasion,
and soon; banishing from your mind any sort of obstinacy,
Health. »
The Pope and Cardinal, as Tuscans may have done well in
promoting the opening of a new trade in marble on Tuscan ter-
ritory, Jbut they were as clearly wrong in forcing Michelangelo
to act as their agent. Amongst the « number of intelligent
masters » who had reported favourably of the marble producing
capacity of the mountains of Serravezza, they might surely have
found a fitting and willing instrument to carry out their purpose
and to act as engineer. Instead of doing so, and thereby merit-
ing the approbation of all, this cruel letter shows how blind
both were to right feeling, and even to sound practical principles
of action.
Michelangelo devoted himself with his usual zeal to the work,
which was forced upon him. There is no finer part of his
character, than his capacity to adapt himself to circumstances.
Thus in April he purchased a site in Florence to build a house
and workshops in anticipation of his labours for San Lorenzo.
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AND HIS WORKS 229
He became satisfied that he had better enter into a contract with
the Pope to execute the new front by estimate, and the following
letter to Domenico Buoninsegni offering to do so explains the
sentiments by which he was animated, and shows his generous
nature and sense of duty. Notwithstanding the treatment which
he experienced, here are the offers which he made, to carry the
Pope's wishes regarding the completion of the Church to a suc-
cessful issue:
c I hare various things to say to you, read for a little with
patience, for it is important; and it is this; that I have the will
to make this work, the front of San Lorenzo, whether in respect
of architecture or sculpture, the master piece of all Italy; but it
is needful that the Pope and the Cardinal resolve quickly whether
they will that I should do it or not. And if they wish me to do
it, it is needful to come to some determination; that is either to
give it to me on contract and to confide every thing to me, or
else in some other way as they may think best which I know
not of; my reasons for this you will understand. » At this point
Michelangelo alludes to the difficulty of finding marble of good
quality, and to his being obliged to lay out money unfavourably,
he then adds :
c The cost of the front according to the manner in which I
intend to execute it, and to set it agoing, is above all, that the
Pope shall have no trouble about it, it cannot be less, according
to the careful consideration which I have given it, than thirty
five thousand ducats in gold, and for that sum I will undertake
to do it in six years. With this condition, that within six months
I shall want on account for marble at least one thousand ducats,
and if it does not please the Pope to do this, it is needful either
that the expenses, which I have incurred here, be placed to my
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230 MICHELANGELO
account or loss, and that I restore a thousand ducats to the Pope,
or that he employs some one to carry out the work, for I for
various reasons desire by all means to leave this. As to the
price, once the work is commenced, if I discovered that it could
be done for less, I should treat the Pope and the Cardinal with
such good faith, that I should inform them even more readily,
than if loss fell upon me ; but I rather hope to do the work in
such a manner, that the price will be sufficient. Messer Do-
menico, I beseech you to reply to me decidedly as to the wish
of the Pope and the Cardinal, and this will be a gratification
to me even more so, than all those which you have already
done me. » *
This is the letter of a man of business and practical architect.
It shows what had been the nature of Michelangelo's studies at
Carrara and his knowledge of the cost of material, workmanship
and transport, and that he had informed himself of the nature
and extent of the expenses which he must encounter in Florence,
of the outlay needful on his own account for sculpture and the
wages of assistants. It is surprising that he should ask for so
small, indeed obviously inadequate a sum in advance, with the
charges which were before him in the new quarries. Six years
appears a brief estimate of the time required for so great an
undertaking, and it plainly indicates that, as in the case of the
Julian monument, Michelangelo contemplated the employment
of a considerable body of artist assistants.
On the eighth of march 151 7, Buoninsegni wrote to Michel-
angelo that he had shown the letter to the Cardinal de'Medici,
who had been greatly pleased by it, « especially in respect of
the great good will which he had, as to the execution of the
work of the front and that the expenses which he had incur-
1 Buonarroti Archives.
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AND HIS WORKS 231
red in excavating marble » would be made up to him, but he
added that the Pope wished to see the model, and he advised
him to make one of wood either in Carrara, where he then was,
or else in Florence, and to send it as quickly as possible to
Rome.
Notwithstanding the instructions from Rome to Michelangelo,
it was obvious that if he waited for a supply of marble from
the new quarries, it would be long before the front of San Lo-
renzo in Florence could be commenced.
Little progress had been made in quarrying at Serravezza
since thequarries were first opened, and that the works for San Lo-
renzo might not be unreasonably delayed, whilst Michelangelo
prepared to carry out the wishes of the Pope, he was under
the necessity of again entering into contracts at Carrara with the
proprietors of marble quarries there.
Thus he contracted with Matteo Cucarello and company on
the sixth of March 1517 for two white marble columns each
nineteen feet in height, the diameter at the base of each to be two
feet six inches without the fillet, which was to be one inch
more.
On the fourteenth of the same month, he also contracted with
Leonardo Casoni to excavate a certain quantity of marble. The
prices, sizes and quality are specified in the contracts with pre-
cision, and it is provided that besides blocks suitable for building
purposes, there were to be two for statues from nine feet six
inches to eleven feet three in height. As these were far too
large for the monument of Julius, they must have been intended
for San Lorenzo. No place is provided in the very poor design
in the Academy at Florence, said to be that prepared by Michel-
angelo for statues of such proportions as this, and this, apart
from its general demerits, increases the doubt with which it may
be regarded.
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232 MICHELANGELO
Besides these Colossi, four blocks for other statues, each about
eight feet in height, were contracted for; these proportions cor-
respond so accurateley with those of the statues blocked out and
now existing in a grotto of the Boboli gardens, whilst at the
same time the action closely resembles that of figures representing
garland bearers, slightly indicated over one of the wings, of the
drawing preserved in the Buonarroti museum, as to render it
highly probably that these or some of them are portions of Michel-
angelo's design for that church.
Notwithstanding the expressions of good will on the part of
the Cardinal communicated through Buoninsegni, Michelangelo's
enemies were ceaseless in their efforts to prejudice both the Pope
and the Cardinal against him, of which he was duly informed
by his friends in Rome, amongst whom Leonardo, the saddller,
ne' Bargherini, wrote to advise him to hasten his work as much
as possible, to which Michelangelo replied: « I would have you
understand that such solicitations are to me so many stabs, for
I die of vexation from not being able to do that which I would
do, but for my evil fortune. » l This cry of anguish is expressive
of what were the feelings of Michelangelo as to his enforced
labours.
The same Leonardo informed him that the Cardinal was dis-
satisfied with him, as he had learnt from a distinguished Master
that he was not working and never would work. So the artist
of the Sixtine, the sculptor of the David and the Pie&, and so
many other great works, was spoken of and judged.
This distinguished Master was Iacopo da Sansovino a defeated
competitor for the front of San Lorenzo and a second rate artist,
who thus expressed himself to Michelangelo on the thirtieth of
June 1517 : c The Pope and the Cardinal and Iacopo Salviati
are men who, when they have said yes, it is a bond, so true
1 Buonarroti Archives.
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AND HIS WORKS 233
are they and not what you say. But you measure them with
your measuring rod ; for with you, neither contracts, nor faith
are of value, and you say yes or no, as may be useful to yourself ;
know that the Pope promised me the reliefe and Iacopo Salviati
also, and they are men who maintain their words: as forme, I
have done for you as much as I could to be useful to you and
for your honour, when I had not yet seen that you never did
good to any one. » *
Thus was Michelangelo insulted by his rivals. What is to
be thought of the Cardinal, with whom the statements of such a
man as this could have any weight? It is needless to pause
even for an instant to refute such slanders as these, or to defend
Michelangelo from such misrepresentations of his noble and ge-
nerous character.
That Michelangelo commissioned Baccio d'Agnolo to make a
model from his design for the front of San Lorenzo, has been
already referred to. On two occasions he visited Florence to see
it, and when he went there to lay off the foundations of the new
front which was to be bjiilt, he perceived that Baccio either
could not or would not execute it. Domenico Buoninsegni
having again written regarding the Pope's wish to see the model,
Michelangelo went expressly to Florence at the end of Au-
gust 1517, and himself superintended the preparation of a model
in wood, the sculpture being represented in wax. The cost was
defrayed by Michelangelo, but a carpenter's wages were paid
by the Pope through Bernardo Niccolini. This model intended
for the inspection of Pope must be distinguished from that made
at Carrara.
Apparently it took some time to get it ready, for it was not
forwarded to Rome till December in charge of Pietro D'Urbano,
who by a letter of the twenty-ninth of the month informed
1 Buonarroti Archives.
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234 MICHELANGELO
Michelangelo; that it had arrived safely, and was placed in the
house of Buoninsegni where it was shewn to the Pope and the
Cardinal, both of whom had been greatly pleased; at the same
time he stated on the part of Buoninsegni that the Pope wished
Michelangelo to visit him in Rome.
Domenico Buoninsegni wrote himself, saying that the model had
arrived in perfect condition, and that the Pope and Cardinal
were highly satisfied, and further informed the artist that he had
heard no ill natured criticisms « except that it was said that
the flanks 1 increased it so much, that you never will finish it
in your life time; but in truth this is a small criticism, and if
you will act by my advice, having need of men, you will select
them from other people than ours, who are all such great masters
in their own opinions. Apropos of such boasters, I would say
to you that some years ago I was at Milan, where are many works
of sculpture on the Cathedral there, and I saw good things and
young men who are trained there and who would be proud to
serve you. However, I do not know much about it, and you
know a great deal, but what I recall is, that you may make a
note of it. » *
In compliance with the wish of the Pope, Michelangelo went
to Rome in January 1518, and made a new agreement with His
Holiness, by the terms of which he undertook to erect the front
by estimate, the Pope on his part binding himself to advance
four thousand ducats. On the sixth of February, Michelangelo
returned from Rome to Florence, whence he departed on the
twenty-fifth for Carrara, where he found the inabitants prejudic-
1 « The flanks. > Thia expression is remarkable. Both the design in the Florence
Gallery and that in the Buonarroti Museum show lofty flanks hiding the aisles. It would
be necessary to return these some distance parallel to the sides of the church, or their false
character structurally would have been evident. Hence the criticism reported by Buonin-
segni made not without justice.
» Buonarroti Archives. This letter to Michelangelo is quoted here, although its date
is 1st January 1518.
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AND HIS WORKS 235
ed against him, and that his contracts with the quarrymen had
not been properly fulfilled, nor preparations made for embarking
the blocks. He was consequently obliged to go to Genoa to
hire vessels, but on the arrival of these at the beach near Car-
rara the masters were bribed by the Carrarese to break their
contracts.
From Pietrasanta l on the second of April, he wrote an ac-
count of these transactions to his brother.
« Buonarroto. I wish thee to inform me if Iacopo Salviati
has arranged with the Consuls of the wool Corporation accor-
ding to the minute, as he promised me, and if he has not done
it, beg him on my part to do it; and if thou seest that he does
not do it, advise me that I may retire from this, because I have
entered upon a thing to impoverish me, for it does not succeed
as I anticipated. Notwithstanding, if promises are kept with,
me, I will carry out the undertaking at whatever cost and
annoyance, without any kind of security at present.
With regard to the question of the road here, say to Jacopo
that I will do what I' can for his magnificence, and that he
never will be deceived in that which he confides to me, for I
seek not my own advantage, but the advantage and honour of
my employers and my country : and if I have requested the
Pope and the Cardinal to give me authority over this road, I
have done so that I might direct it to those places, where the
best marbles are, which every one does not know: I have not
asked this for any gain, I think not of such things; indeed I
beseech the magnificence of Iacopo that he will give it to do to
Master Donato, for he is very skilful in such matters, and he is
1 Pietrasanta and Serravezza are referred to indifferently, both are stations not far
from each other from which penetration was easy into the gorges of the Appuan Alps,
as the grand buttress of the Appennines formed by the marble mountains is called.
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236 MICHELANGELO
honest; and let him give to me authority to direct it and arrange
it, as seems to me needful, for I know where the best marbles
are, and where to make the best road to transport them, and
how to improve for those who lay out money.
Therefore make known what I say to the said Iacopo and
recommend me to his magnificence, and request him to recom-
mend me to his men in Pisa, that they do me the favour to find
vessels to take my marbles from Carrara. I have been at Genoa
and I bought four vessels to the beach to load them, and the
Carrarese corrupted the masters of the said boats, and so ha-
rassed me that I did nothing, and I think to go to Pisa to provide
others. However recommend me as I have said, and write
to me. » 1
The second of April.
MlCHELAGNIOLO
in Pietrnsanta.
Arrange with Pietro to stay with me as if thou didst act for
me, if necessary give him money, I will repay thee.
Having undertaken the front of San Lorenzo by estimate, it
was evidently right that every facility should be given to Mi-
chelangelo with regard to the excavation and carriage of marble,
and as by no fault of his own he had incurred the dislike of
the Carrarese, the more needful was it that he sould have the
control of the newly made road to the new quarries of Serra-
vezza, and that he should extend it to those places, where the
best marble was to be found.
On the seventh of April, he again writes to Buonarroto, this
time from Pisa:
* Buonarroti Archlrea.
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AND HIS WORKS 237
Buonarroto. I was eager, as I wrote to you, to carry away
my marble, and arrived in Pisa. By the favour of Iacopo Sal-
viati, I have hired two masters of vessels at a just price and I
shall be served: Francesco Peri has done everything for me for
the love of Iacopo. Let me beg of you to thank his magnifi-
cence for the great service which he has rendered me....
.... The road and everything I hope will go on well. I am
about to leave and I go to Pietrasanta, and Francesco Peri
gives me one hundred ducats which I carry to the Commissary
of Pietrasanta for the road. » x
The seventh day of April (1518).
MlCHELAGNIOLO
In Pisa.
On the eighteenth he again writes, and it is evident that his
troubles were increased rather than modified.
« Buonarroto. I learn by yours that the agreement is not
yet made: I am greatly vexed; I therefore send one of my men
by post on this account alone : he is to remain all thursday to
see if the agreement is made, and on fiiday he is to return here
to inform me: and if it is made as I have requested, I shall
carry out the enterprize; should it not be made on thursday, as
you write to me, I shall not think therefore that Iacopo Salviati
has not the will to make it, but that he cannot; and I shall get
on horseback and shall go to the Cardinal de'Medici and the
Pope, and shall explain my position to them, and shall abandon
this undertaking and return to Carrara, to do which I am prayed
to, as Christ is. The masons which I brought thence (from Flo-
rence) understand nothing either of quarries or marbles. They
1 Buonarroti Archives.
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238 MICHELANGELO N
have cost me one hundred and thirty ducats and have not yet
excavated for me one splinter of marble that is good, and they
go about making believe that they have made great discoveries,
and they seek to work for the Cathedral and for others with the
money which they have received from me. I dont know who
favours this, but the Pope shall know everything; since I esta-
blished myself here I have thrown away three hundred ducats,
and I see nothing for my advantage. I have undertaken to
bring the dead to life, to tame these mountains, to introduce
trade into this country : should the wool corporation, give me
beside the marble, one hundred ducats a month, to do that which
I am doing, it would not do badly, besides making the agree-
ment. Recommend me to Iacopo Salviati and write by my man
hctw the affair goes, so that I may do what is needful, for I am
racked by this uncertainty.
MlCHELAGNIOLO
in Pietntsanta.
The boats which I hired at Pisa have not come; I believe that
I have been beguiled : and so it is always. Oh a thousand times
cursed be the day and the hour when I left Carrara! This is
the reason of my ruin, but I shall return there soon. In these
days it is a sin to do well. Remember me to Giovanni Ricasoli.1
This letter shows the state of mind to which Michelangelo was
reduced by his appointment as quarryman and road maker %jk
Pietrasanta. Fortunately for him the Consuls of the wool Corpo-
ration of Florence on the twenty-second of April 1518 determined
that the execution of the road for the carriage of marble from
the new quarries should be entrusted to him, giving him full'
authority to do whatever he might consider necessary and useful
towards this object.
1 British Museum Buonarroti MSS. n. 41.
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AND HIS WORKS * 239
Michelangelo's letters present a singular picture of the in-
trigues and dishonesty of the people whom he came in contact
with9 and above all of the difficulties which beset his path in
the service of the Pope, and the absence of all protection or
support in the performance of the duties which were forced upon
him. The Pope was strong enough to oppress him, apparently
too weak or too careless to protect him. Writing about his
work, he has recorded that « at Serravezza, in the mountains of
Pietrasanta on the territory of the Florentines, having there
blocked out six columns of rather more than twenty two feet
each and a great deal more marble, and made that progress
in excavation now observable and which never was made be-
fore. » x At this time Michelangelo had a narrow escape from
great personal danger, as he has himself described in a letter
to his assistant Pietro d'Urbano.
« Pietro. Business has gone very badly. On Saturday morn-
ing I set myself to lower a column with every care and nothing
was wanting, but when it was lowered about ninety-five feet
the ring of the lewis broke, and the column fell into the river
in a hundred fragments. The ring had been ordered \j Donato
from his godfather Lazzaro Ferraro, and had it been of good
quality it ought to have sufficed to uphold four columns, and
when looked at externally there seemed to be no doubt of its
strength, but where broken, we saw the great rascality of the
maker ; there was not as much iron in thickness as would have
made the blade of a knife, it was wonderful that it resisted so
long. All who were there were put in peril of their lives, and
an admirable stone was broken.
This Carneval I left the charge of the iron work to Donato,
who was to go to the forge and to select soft iron; thou seest
how he has treated me, so that the lewis which he had made for
1 British Museum Buonarroti MSS.
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240 MICHELANGELO
me split in the ring in lowering this column, and as they are
twice as thick as usual, if of good iron they would have sup-
ported an infinite weight, but the iron is raw and bad, and
worse could not be had: and this is what Donato has done with
his godfather, sending him to the forge and serving me as thou
seest ; verily there is need of patience. » *
Michelangelo is seen superintending the removal of heavy
weights, observing and criticising the apparatus used ; strange
and it may be said humiliating occupation for the great master,
but he is acquiring practical knowledge in this rough school, he
works earnestly and without complaint, saying only « verily
there is need of patience. »
Iacopo Salviati wrote thus to him on hearing of the breakage
of the column: «Have courage and follow bravely thine
enterprize, for having begun it, thine honour is engaged; and
trust to me that nothing shall be wanting, and our Lord is about
to compensate thee fully 2 and do not doubt this : and if from me
thou desirest any one thing more than another let me know,
and thou shalt instantly be attended to. Reflect that having
commenced a work of this nature, our city of Florence is under
great obligation to thee, and will be permanently indebted to
all of thine house. Great men in adversity rise above it and
are courageous. » *
This letter shows clearly what was thought by a distinguished
contemporary of the treatment of Michelangelo by Leo X;
nor was Salviati alone in this opinion in which other friends
of the great artist shared.
That the Carrarese should resent the opening of the quarries
1 Buonarroti Archives.
* He problably alludes here to the intention of employing Michelangelo to design the
chapel of the Medici and to sculpture the monuments which it contains. The letter the-
refore was written after the death of Lorenzo.
* Buonarroti Archives.
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AND HIS WORKS 241
at Serravezza was natural, but they were in error in fixing the
responsibility upon Michelangelo. He at first strenuously op-
posed the undertaking, which was fraught with nothing but
vexation and dishonour to himself, as well as the disappointment
of his most cherished feelings as to the occupation of his time.
That the owners of quarries and the working class should err
in judgment was to be expected, but that an able and well dis-
posed Prince, such as the Marchese of Massa, Antonio Alberico,
should be induced to attack the character of Michelangelo is
extraordinary. He wrote to the Pope: « That he had done as
much honour to Michelangelo as was possible, and that this
disposition had been of no service, to him from his unhappy
temper, at all times in discord with others, causing estrangements
and that all was his fault. » 1 Michelangelo was informed of this
by his friend Leonardo, the saddler, in November 1518. The
effect of such attacks upon his sensitive mind may be imagined.
Michelangelo worked at intervals for the monument of Julius,
as had been agreed upon with Pope Leo. He gives the fol-
lowing account of his proceedings at Florence : « Afterwards
when I was at Florence for the said front of San Lorenzo, there
being no marble for the tomb of Julius, I returned to Carrara
and remained there thirteen months, and had all the marble
necessary for the sepulchre taken to Florence, and I built a
room to make it in and began to work. Aginensis sent Messer
Palavicini, who is now Bishop of Aleria, to hasten me, and he
saw the room and all the marbles and figures blocked out for
the said sepulchre, which are still there. Seeing that I worked
for the Tomb, Giulio de'Medici who was living in Florence and
was afterwards Clement, did not allow me to go on. »*
What has become of the works thus described by Michelangelo?
His contracts for marble with the proprietors of quarries for the
* Buonarroti Archive*. * Letter of Michelangelo pnbllihed by Ctampl.
16
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242 MICHELANGELO
most part have been preserved, and when these are examined,
the sizes of the blocks ordered for statues do not agree with
those specified in the draft of his last contract of this period,
neither does it appear that he remained at one time thirteen
months at Carrara, but he may readily have computed differently
from later writers, and may not have taken into account brief
visits to Florence, such as that for laying off the foundations of
the new front.
It has been already mentioned that he purchased a site for
a house in Florence, on which to erect a Studio, and conveyed
marble there from the great quantity collected at Avenza. It
must have been this workshop with its contents which Palavi-
cini saw and was satisfied with.
It has generally been supposed that the four statues in the
grotto in the Boboli gardens were amongst those seen on the oc-
casion of that inspection. It has already been pointed out that
these were much more probably intended for the front of San
Lorenzo, for they are too large and too unequal in height to have
been suitable for the monument ; the stride of one of them amounts
to three feet seven inches, whereas the pedestals in front of the
monument of Julius are little more than two feet wide. This
statue therefore could not have been destined for one of these.
Like the, young men, garland bearers of the cornice of the Six-
tine, possibly these statues were to be garland bearers on the
cornice of San Lorenzo, and this suggestion explains their action
and present state, especially the masses of marble adapted for
cutting out not figures only, but figures bearing massive gar-
lands.
Another group called Victory now in the national museum, has
also been assigned to the all absorbing monument. But it is much
too large. It is an unpleasant composition and rather represents
brute force than victory. A young and very powerful man,
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r »»J
2 c
3
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AND HIS WORKS 243
of a lithe and handsome form, the face especially is beautiful,
crushes down one much older than himself; this last figure is
thought to resemble the artist himself in its features.
If it does so, it is not inconsistent with the genius of Michel-
angelo to suppose that this unexplained work, bequeathed by him
without a history, represents in a block of marble of Serravezza,
his oppression there, and that its name is not victory but tyranny.
It is an embodiment of cruel, savage and resistless force.
Close beside it in the same museum is the recumbent statue
representing a dying Adonis also of Serravezza marble.
The design is so peculiar that it seems likely that this
was not the original intention of the statue, but rather that
it may have been one of the prostrate figures to be placed at
the feet of a Victory on the tomb of Julius. This theory is not
without its difficulties, but the figure so closely resembles one of
those in Michelangelo's sketch, and as an Adonis is so awkward,
that the suggestion may be admitted to deserve attention. When
it is examined and its general merits are considered, it presents
appearances of having been finished by a pupil, who metamor-
phosed it into a statue of the dying Adonis. The Boar cannot
be Michelangelo's work. It was preserved in the Grand Ducal
Villa of Poggio Imperiale, where it had been cleaned and an
encaustic applied, as was at one time the usage, having a very
conservative effect on the surface of marble.
The fact of this statue being of Serravezza marble may at first
sight appear to be subversive of this surmise. But when Michel-
angelo was peacefully engaged at Rome on the monument, he
ordered one block of this marble through Michele , which not
arriving, he impatiently inquired for. He may have received it
and blocked out a prostrate captive, for at that time the contract
containing statues of captive provinces was still in force. If
however he never worked in Serravezza marble, till he person-
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244 MICHELANGELO
ally directed the excavations of the new quarries, then this
suggestion must necessarily fall to the ground.
The same Museum contains an ideal Bust of Brutus by Michel-
angelo, which he began to execute for the Cardinal Ridolfi but
did not complete. It merits especial attention being certainly
even in its unfinished state one of the finest busts produced in an
age prolific in such works. In those parts of the face which are
nearly finished, the softness of the flesh is rendered with unsurpas-
sable skill, whilst the whole head, instinct with life, is of a noble
and dignified character. The drapery on the shoulders is perfect
in its arrangement; the folds bend in towards the centre of the
chest in graceful curves and such is the delicacy of the execution
that it suggests bronze rather than marble. A cast of this un-
finished bust ought to be in every school of Art. On it is in-
scribed the following distich:
Dam Bruto effigiem sculptor de marmore ducit
In mentem sceleris venit et abstinuit
The Earl of Sandwich with more justice thus wrote :
Brutom effecisset sculptor; sed mente recursat
Tanta viri virtus, sistit et abstinuit. f
The heads of the two figures, the Victory or Tyranny and the
Adonis arrest the attention; both resemble in general type the
head of Julian de' Medici as sculptured on his famous monument,
and all three are equally ideal. An ideal which is observable
in the head of the noble statue of St George by Donatello, whose
great and original powers as a sculptor were cordially appre-
ciated and admired by Michelangelo. There are figures on the
two bronze pulpits in the Church of San Lorenzo, both by Do-
natello, which in their expression, action and vigorous character,
anticipate the design of Michelangelo.
1 From the catalogue of the Florence Gallery.
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AND HIS WORKS
245
Although Michelangelo broke away from the sentiment and gen-
eral manner of his predecessors, still artists of the most original
powers retain to the last traces of the school in which they were
trained.
Thus in his frescos careful comparison discovers reminiscenses
of Domenico Ghirlandajo, and in his sculpture there is evidence
of his early admiration of Donatello. The heads of the David, of
the Adonis and of the Julian recall, more or less, that of the
St George in feature, manner and in the arrangement of the hair.
It is profoundly interesting to contemplate the industry and
energy of this great man, who tormented and ill used and op-
pressed with unusual labour, compelled to go backwards and
forwards between Florence and the quarries, his attention dis-
tracted by the infinity of practical details which occupied it,
still found time to work with his chisel, and did all that lay in
his power to fufill his contracts, whether public or private.
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Chapter XI
« he termination of Michelangelo's charge of the
excavation of marble and of road making at
Serravezza was now near at hand. He was to
be restored as he has himself stated to his
freedom1 and honourable commissions were to
be assigned to him. The records which he has left relating to
this unhappy period of his life are profoundly interesting. He
wrote on the tenth of March 1520. 2
« Be it known that I, Michelangelo, Florentine Sculptor,
whilst at Carrara for marbles in 1 516, for my works, by Com-
mission of Pope Leo, to excavate marbles for the front of
San Lorenzo of Florence, according to a design which I made
for that work, afterwards on or about the eighth of January (1517),
I had from Pope Leo one thousand broad ducats on account of
the above by the hands of Iacopo Salviati paid to me in Car-
1 His own expression is « e cosl mi laaela in mla liberta. »
1 Buonarroti Archives.
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248 MICHELANGELO
rara by his servant called Bentnroglio. And about the twenty-
fifth of February (1518), or more exact time, 1 I received from
Pope Leo in Florence eight hundred ducats by the hands of
Iacopo Salviati for the said working of marble for San Lorenzo,
and not being able to make use of the said marble at Carrara
I began to excavate in the mountains of Serravezza, Township
of Pietrasanta where there never had been excavations before.
And on the twenty-sixth of March 1519 (1520) the Cardinal
de' Medici caused to be paid to me on the above account five
hundred ducats, which were paid to me by Gadi of Florence.*
Another document preserved at Berlin without date, but pro-
bably written at the same time, enters into the whole subject
more fully and graphically, and the following extracts describe
the termination of Michelangelo's work in the quarries.
« Afterwards at this time (apparently the 26th March 1520)
the Cardinal (Griulio de' Medici) by commission of the Pope
stopped my proceedings, saying that they wished to free me
from this trouble of directing the excavation of marbles, and
that they would provide for me in Florence, * and make a con-
vention with me, and so it has been till now. Just at this time
a certain number of masons from the office of works of the Ca-
thedral at Florence, came to Pietrasanta or rather to Serravezza,
to undertake the works and to take over the marbles which I
had excavated for the front of San Lorenzo and to use them to
make the pavement of Sta Maria del Fiore. Leo still wishing
to prosecute the front of San Lorenzo, the Cardinal de' Medici
thus disposed of the marbles of the said front to others, and not
to me, 3 without coming to terms with me as to the works, of
1 c Or more exact time » an expression by which Michelangelo denotes, then or about
that time, he uses it frequently.
* To design and erect the Chapel of the Medici.
8 Very singular proceedings on the part of the Cardinal.
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AND fflS WORKS 249
which I complained; for neither the Cardinal, nor the office of
works had any right to interfere in my affairs, before I had come
to terms with the Pope.... After which and settlement of accounts
with him they might have done what they pleased. >
After a statement of money transactions Michelangelo adds:
« I do not place to account the very .great ignominy of having
employed me to do this work and of taking it from me, for
what reason I do not yet know. Nor do I add to the account
my house in Rome which I left, nor the loss. of more than five
hundred ducats worth of marble, of furniture and work. With-
out reference to these items there remain to me five hundred
and fifty ducats of the two thousand three hundred which I
have received.
Now we are agreed. Pope Leo takes over the works done
and the marbles which I have in hand, and I am set free, and
I am advised to make a deed, which the Pope will sign. » 1
And so ended the four years of compulsory employment in
which to use Michelangelo's bitter words, so much « ignominy »
had been thrust upon him, and during which he had manifested
so much 'ability and so much zeal, and performed such true and
loyal service. He had been deprived, in a sense robbed of his
property, his labours on the monument of Julius had been ar-
rested when he was about to add the last touches of his inspired
chisel to three of the finest of his works, the statue of Moses and
those of the Captives, that he might make roads and quarry
columns and blocks for statues and for building. And at last
1 Michelangelo was to retain the balance in hand, the wholly inadequate payment
of 600 ducats.
The document from* which the above extracts have been made, Is published by Hermann
Grimm In his interesting life of Michelangelo.
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250 MICHELANGELO
in a tricky discreditable way, his work was stopped, the marbles
appropriated to other and meaner purposes without his consent,
and his conscientious studies and labour in preparation for erec-
ting an edifice which he hoped to make « the mirror of Archi-
tecture » rendered nugatory without explanation, for he distinctly
says, he did not know why.
And so he left the quarries and returned to Florence to resume
his work upon the monument of Julius, and the statue of Christ
triumphant over death, for the church of Sta Maria sopra Mi-
nerva, in Rome, which he completed in 1521.
Shortly after the dissolution of his contract for the front of
San Lorenzo, Michelangelo was informed of the early death
of Raflael da Urbino in the following terms by Sebastian del
Piombo. That sad event having taken place on the sixth of April.
12th April 1520.
« I believe that you have heard that poor Raffaello da Urbino
is dead, 1 and I feel that this must have caused you much sorrow,
may God give him his pardon. »
It may well be believed that this unexpected loss must have
grieved Michelangelo. Raffael had been heard to thdhk Grod
that he had lived at a time when he could study his works,
but the evil influences of others, especially the counsels of Bra-
mante, kept the two great men apart, and Michelangelo deeply
resented the attempted interference with his commission in
the Sixtine, which he was afterwards induced to believe was
shared in by Raffael, although the active agent was Bramante.
He admired the genius of Raffael, the more that he thought that
that great master followed in his footsteps. He undoubtedly
1 Buonarroti Archives.
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AND HIS WORKS 251
overestimated the effect of his example, but his opinion was
shared by Julius as well as by others of his contemporaries. *
It appears that after the death of Raffael, Leo made offers to
Michelangelo through Sebastian del Piombo to paint the Hall
of Constantino as it is now" called, but Raffaers pupils were in
possession of his designs and had actually begun to work, and
Michelangelo resisted all attempts to induce him to interrupt
their proceedings. The Pupils were anxious to paint the designs
in oil instead of in fresco. Sebastian del Piombo writing in his
usual way to Michelangelo informs him, that he had taken his
letter to the Cardinal Dovizza da Bibbiena, who had told him,
« That the Pope had given the hall of the Pontiffs (as it was
then called) to the Pupils of Raffael, and that they had executed
a specimen of a figure in oil on the wfcll which was a beautiful
work of art, so much so that no one would now look at the rooms
painted (in fresco) by Raffael, that this hall would excel the
others and would be the finest work executed in painting since
the time of the ancients. > * At first sight this statement of the
Cardinal may seem extravagant, but the figure spoken of was
designed by Raffael, and such is its excellence, that it has hitherto
been believed to have been also painted by him. Sebastian does
not state, which of the three figures in oil colours now in the Hall
of Constantine he here alludes to. Painted in oil as an experi-
ment, it must have seemed more brilliant than the pictures in
fresco in the Stanze, in one at least of which — The Heliodorus —
there is evidence of Raffael' s dissatisfaction with pure fresco, and
of his wish by a subsequent process of retouching to attain
1 «AU the discords which arose between Julius and me were caused by the envy
of Bramante and Raffael of Urbino, and this was the reason why he did not continue his
monument during his life, for my ruin ; and truly Raffael had reason, seeing that what
he had of art, he had from me. » Letter of Michelangelo by Sebastian Ciampi p. 7.
This last statement of Michelangelo is so prejudiced and extravagant that it suggests
a hope that the first also may not be true. He did not appear to suspect Raffael when
he complained of Bramante to Julius.
* Buonarroti Archives.
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252 MICHELANGELO
greater depth and richness of chiaroscuro and of colour. His
pupils then were induced by his example to try a method cap-
able of attaining these objects, and they had recourse to oil
painting. Sebastian had before this time shown his preference
for this system in the Church of San1?ietro in Montorio, and the
Cardinal's admiration was a testimony in favour of his principles.
Their adoption by the pupils of Raflael makes him for the mo-
ment fair to them and he relates their success in glowing terms.
Neither Sebastian nor the pupils were aware that mural oil
pictures would darken so much as is actually the case, but
apart from this, if their condition is contrasted with fresco
paintings generally, they are found to be much better preserved.
It is quite evident that Raffael and other great Masters were
dissatisfied with the imperfect process of fresco painting, * and
it may be regretted that this fact was some years since over-
looked in England, when attempts were made to introduce a
system unsuited to the genius and instincts of English artists
and to the nature of the climate. The mural oil paintings in
the Vatican show the superior durability of the process, and by
careful modifications and attention to chemical conditions, the
superabundant darkening might no doubt be avoided. The
conditions which lead to this effect are perfectly well known, and
there are innumerable specimens of oil painting in Italy ex-
ecuted in the sixteenth century, which are as clear now as when
first painted; amongst which is Michelangelo's picture for An-
gelo Doni.
Sebastian, strangely enough, added to his gossip a statement
made to him by Baccino di Michelangelo, * that the Pope was
not satisfied with the trial work of the pupils; were this true, the
taste of Leo might well be questioned. But it is probably untrue.
* See Report on the Frescos of the old Masters by O. H. Wilson published by the Royal
commission on the fine Arts. London 1843, p. 28.
» Baccio Bandinelli.
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AND HIS WORKS 253
Michelangelo made no reply to this letter, and on the sixth
of December, Sebastian wrote to him again, urgently beseeching
him at least to express his opinion, telling him at the same time
that the Pope had sent to inquire if he had received a reply,
and when informed that there was none, he had been offered in
the name of the Pope a commission to paint the Hall beneath,
leaving that above exclusively to the pupils of Raffael. The
letter continues : « I replied that I could not accept any thing
without your knowledge, or till your answer reached me, and
that none had come up to this time, and I also said to him that
even if he were not engaged to Michelangelo, and that the Pope
desired that I should do this hall, I would not do it, because I
do not think myself inferior to the pupils of Raffael da Urbino,
especially as you had been offered the half of the hall above by
the mouth of the Pope, and it did not seem to me an honest
proposal that I should paint the cellars and they the gilt cham-
bers, so I said, let them paint them. He answered that the
Pope made the proposal to escape disputes, that the pupils had
the designs ready for the hall above, and that below was as
much as the other the Pontiff's. I said that I would do nothing.
They laugh at me and my doings, and I am so disconcerted
that I am like a madman. »
He again entreats Michelangelo to undertake to paint the hall
and to take it out of the hands of Raffael's pupils. « There can be
no more important work than this in the world; by it you may
avenge yourself of all the insults offered to you, and silence all the
idle talk for ever, for in this hall you will have for subjects noble
events in history. The first will be the Story of the Emperor
Constantine, when there appeared to him a brilliant cross, the
sign of his approaching victory, and the death of a certain king
his rival. Next on the largest space a battle or feat of arms,
which they say is that which the Pope wishes to be first begun.
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254 MICHELANGELO
On the third space a presentation of prisoners to the Emperor,
and on the fourth the preparation for the bath of blood of infante
in which to bathe Emperor Constantino, in which picture are
introduced many women and children and the executioners to
kill them. These are the subjects the Pope told me * that they
wished to represent, and for which they had designs by Raffael.
I answered him, as I wrote to you before, that in my opinion
there could be no better lessons on history or better chosen. I
beg of you my friend, for the sake of the love that is between
us to answer me, that I may know what I hare to do, for I am
censured by all and chiefly by the Pope, because I do not know
what reply to offer, for this concerns your honour as it does mine. » *
27th October 1520.
Sebastian is consistent only in his jealousy of Raffael, a feeling
which survived even the death of that great artist. His letters,
instead of making out a case against the pupils are in reality
in favour of their being allowed to finish the work, which he
admits that they had begun so well. The suggestion to Michel-
angelo to prevent them doi^g so, was discreditable. His state-
ment that Leo, Raffael being dead, distrusted the pupils and was
prepared to employ Michelangelo to complete this the last of the
Stanze, is remarkable. It has been thought that Michelangelo
refused because of his treatment by the Pope as to the front of
San Lorenzo, and he would have been quite justified had this
been his motive, but better reasons may have influenced him,
more in harmony with the nobility of his character. To have
1 As Sebastian inacurately describes the other subjects, it may well be believed that
he libels Leo or whoever selected those to be painted on these walls. The actual subject
is a very fitting one, the baptism of Constantino, and not the brutal one mentioned by
Sebastian.
* Buonarroti Archives.
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AND HIS WORKS 256
prevented the pupils doing honour to their master's memory by
painting his designs, would have been to imitate the conduct of
which he had bitterly complained, that is, the attempt to prevent
him finishing the vault of the Sixtine. He could not consistently
have interfered as proposed, especially as Rafiael's designs and
Cartoons were complete, and the mural paintings commenced by
his followers. The letter of Sebastian is further important, for
it shows that the noble figures painted in oil on the walls of
the Hall of Constantine were executed by the pupils of Raffael,
and not by his own hands, as has been so generally believed.
Upon receiving Michelangelo's decided refusal, Sebastian replied
that he regretted having written to him on the subject, and it
appears from his letter that the pupils were at work. It is evi-
dent from this correspondence, that del Piombo was in reality
afraid to match himself unaided with the pupils. He was an
indifferent designer and draughtsman, but the excellence of his
method of painting and of his colour, learnt in the school of Gior-
gione, when combined with the design of Michelangelo, who
countenanced and aided him on various occasions, so established
his reputation, that on the death of Raflaeljie was considered
his successor. After the refusal of Michelangelo to assist him on
this important occasion, he abandoned his opposition, and trusted
for reputation and employment to his powers as a portrait painter.
He appears to have been without generosity of temperament, was
jealous, prejudiced and frequently untruthful. It is surprising
that Michelangelo should have tolerated his manner of speaking
and writing of Raffael. If in professional rivalry he assisted
him with designs to enable htm to compete on equal terms, it
was in accordance with ideas then prevalent, nor are they with-
out parallel in more modern times, but the language in which
he expressed himself of his great rival and superior was intole-
rable and contemptible.
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256 MICHELANGELO
In 1519, before Michelangelo left the quarries of Serravezza,
Leo X gave orders for the erection of the now famous chapel
of the Medici adjoining the church of San Lorenzo. That it was
his intention to employ Michelangelo as architect and sculptor
of this commemorative building is apparent in the letter of Iacopo
Salviati , written after the fall and breakage of the column, when
Michelangelo was exposed to peril, which may have induced the
Pope and his advisers to consider, whether it was justifiable to
place so valuable a life in daily jeopardy from the casualties of
the rude labour, which they had chosen him to superintend. The
letter of Salviati undoubtedly shows that the event had affected
his mind seriously, and it probably reflects what may justly
have occurred to others also, and awakened them to a sense of
their responsibilities.
Leo had been in his youth a Canon of San Lorenzo, and
subsequently to his election to the Papacy, he bestowed high priv-
ileges on that church and gave it the title of Papal. After his
interview at Bologna with Francis I, he returned to Florence,
his brother Giuliano being very ill. That he might not see him
die however, he left for Rome in February 1516. * His nephew
Lorenzo Duke of Urbino to whom he was also warmly attached,
died on the 4th of May 1519, and Leo in this year determined
upon the erection of monuments to the memories of his brother
and nephew, both to be placed in an edifice to be built expressly
for them, on a space on the north side of the family church of
San Lorenzo.
Vasari speaks of the period of Michelangelo's life, when he
returned from the quarries, as one of loss of time and of trifling
occupations, such as the windows and copper blinds of the Me-
dici palace. He omits to mention other and more important
works then in progress; the statues for the monument of Julius,
1 He died on the 17th of If arch following.
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AND HIS WORKS 257
and that of Christ, which is now in the Church of Safcta Maria so-
pra Minerva in Rome, for which it was destined by MetelloVarj.
Michelangelo in October 1520 wrote to Sebastiano del Piombo
to obtain a brief from the Pope, granting him permission to visit
Rome. The Cardinal Aginensis had just died, it was suspected
by unfair means, but the Pope thought it prudent under the cir-
cumstances to decline granting the required permission, saying
that he did not wish the work then going on at Florence to be
interrupted, work which he had so unscrupulously arrested at
other times.
Sebastian however advised Michelangelo to come to Rome
notwithstanding, that he might attend to his interests, for the
Cardinal dying suddenly had left his affairs unsettled.
Rome, 9th November 1520.
« It would be well on your part to come and look after the
business of the monument, and still more, after important mat-
ters that you know of, especially of a certain castle of Canossa
which Master Zovanni has talked with me about, a famous sub-
ject to set your brain on fire. So that if you were in Rome
you might settle everything. You would then obtain all that
you could wish, not castles only, but cities, for I know how
highly the Pope esteems you ; when he speaks of you, it appears
as if he were talking of a brother, almost with tears in his eyes :
for he has told me how you were brought up together, and shows
that he understands and loves you, but that you are terrible to
every one, even to Popes. » x
These last words wounded Michelangelo who complained of
them in reply, and received for answer the unmeaning phrase
1 Buonarroti ArcWve*.
17
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258 MICHELANGELO
« that he only appeared terrible in his art, that he was the
greatest master who ever lived. » l The allusion to « a certain
castle of Canossa » is curious, and looks like a bait thrown out
to Michelangelo, who so highly esteemed his supposed connection
with this ancient and noble race. It may be that it means, that
he might obtain possession of a Castle of Canossa.
The manner in which the Pope's regard for Michelangelo is
spoken of in such expressive terms, contrasts singularly with the
great artist's banishment from the Pontifical court by his em-
ployment in the marble quarries of the Lunigiana.
It is difficult to reconcile the terms of the letter with that
banishment. It recalls the excess of regard which induced Leo
to fly from the death bed of his favourite brother. He was
full of romantic sentiment, if not of robust affection. The closing
sentence of Sebastian's letter which aroused the susceptibility of
Michelangelo, indicates an intention on the part of Leo to at-
tribute to his demeanour his estrangement from the papal court.
The remark is not without justice. Michelangelo's genius could
not be on every occasion an excuse for his eccentricity. He
allowed himself to be carried away by passion, especially if his
self love was wounded, and he at times used language which
nothing could justify, without the slightest regard for the merits
or station of the person, whom he addressed. This appears to
have been the case*from an early age, and his broken nose was
a lesson which unhappily did not influence his future conduct.
His sayings to Julius on various occasions justified the remark of
Leo that he repelled even Popes. A lofty independence of
character on his part might have been supported without inciv-
ility, an upright judgment of the merits of others, without ar-
rogance.2 The rough replies which he received he brought upon
* Buonarroti Archive*.
* Pope Clement who understood him, uied at their interviews to tell him to be seated
and to put hi* hat on, knowing that if he did not say so Michelangelo would do both.
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AND HIS WORKS 259
himself, and the warmth with which Julias reproved him, and
expressed his displeasure was undoubtedly justified upon se-
veral occasions, if not always by the demeanour and words
of the intemperate artist. That he pressed Michelangelo un-
reasonably in his work is certain and his conduct in their business
relations to each other was mean and arbitrary, but this hardly
justified conduct so unbecoming as that of Michelangelo's on
various occasions, or his forgetfulness of the respect due to the
high station and age of the Sovereign Pontiff.
Leo, of a very different disposition from his predecessor, was
evidently unwilling to encounter the discourtesies of his schoolfel-
low. He owed it to his high position to avoid even the possibility
of forgetfiilness of respect, and the strange scenes which took
place in the presence of Julius, when artists gave each other the
lie, and a Prelate could be turned out with cuffs, justified cau-
tion in the conduct of his successor. The court of Leo was no
place for such scenes, and the courteous, dignified, amiable
bearing of Raffael was more suited to it and its head, than
the irascibility of his great rival, whose habits also must have
placed him at a disadvantage, more especially when the tastes
of the Pope encouraged splendour of dress and adornment, to
which the penurious customs and shabby exterior of Michelan-
gelo were in such contrast. No fault of demeanour on the great
artist's part can however extenuate the conduct of Leo, nor justify
the employment of his time in the marble mountains. The Car-
dinal Giulio de'Medici although he appears disadvantageous^
in the transactions connected with the quarries, having taken
a share in promoting Michelangelo's compulsory employment,
otherwise befriended him, and on the part of the Pope confer-
red upon him the commission to execute the Chapel of San Lo-
renzo and the monuments of the Medici towards the close
of 1520.
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260 MICHELANGELO
On the twenty-ninth of the month of November of that year
Michelangelo transmitted to the Cardinal his first design, which
although it was highly approved of, was subsequently consider*
ably varied in the execution as may be seen by the following
letter.
« Spectabilis Vir amice noster charissime. We reply briefly
to yours of the twenty* third, that we have the design or sketch
of the chapel, and truly are pleased with it; the manner in
which you have thought of placing the four sepulcres in the
middle of the chapel pleases us, and if the sarcophagi of the
sepulchres can be kept at most to three braccia in length (five
feet nine inches) we think that they will turn out well, executing
thereafter the other ornaments, which will complete the whole
in that manner which you know will look well. But a difficulty
presents itself to my mind, I do not see how in four braccia
(seven feet and an inch) on every side, shown by you, the said
sepulchres with their ornaments can be included, so that there
shall remain eight braccia free on every side of the chapel ! l
However we are disposed to leave it to you to do what you
think will be well and that as regards the chapel the arrange-
ment which you make and the design will give satisfaction.
Therefore you will go on and continue this work which we
greatly recommend to you. And as to the ornaments and other
details, there will be time enough to speak of these when we
shall be in Florence. Bene valete. »
At the Malliana 28th November 1520.
Vester
Julius
/ Vicecancellarius. s
1 Probably this sketch like others by Michelangelo was not drawn to scale and the
practical Cardinal discovered an error, to which he drew the Architect's attention.
s Buonarroti Archives.
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AND HIS WORKS 261
Some months elapsed before practical effect was given to the
instructions of the Cardinal. No doubt in that time the artist
thought out and prepared his design for the Chapel and monu-
ments, and he was also partly occupied completing the statue
of Christ for Metello Varj.
In April 1521 Michelangelo received from the Cardinal
two hundred ducats to go to Carrara — there is no talk of Ser-
ravezza, — to give order for marble for the monuments of the
Medici, when he remained twenty days as recorded by himself in
a note bearing date the sixteenth and nineteenth of August 1521.
« On the ninth of April one thousand five hundred and twenty -
one, I had from the Cardinal de'Medici and through him by
Domenico Boninsegni two hundred ducats to go to Carrara
and to commission marbles for the sepulchres to be placed in
the new Sacristy of San Lorenzo. I went to Carrara and staid
there for about twenty days, and I there made all the measures
and ground plans of the sepulchres drawn upon paper, 1 and I
commissioned the marbles in separate portions from two com-
panies.... I went to Carrara with a servant on foot called poor
John, and I remained nine days.* * Thus two journeys are 're-
ferred to as taking place at this time and they are the last of
which there is any record. Michelangelo commenced these
journeys in April 1505. He made at least ten different visits
between that year and 1521 when on the 29 th of April he saw
Carrara and its quarries for the last time.
The servant « poor John » was a certain Scipio, a mason of'
Settignano, and it appears from another memorandum that on
the 10th of April Michelangelo paid « ten ducats on account of
his salary, which began on that day, to remain at Carrara to
1 This it farther proof of the practical architectural nature of Michelangelo's studies
and proceedings at Carrara.
* Buonarroti Archives.
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262 MICHELANGELO
excavate marble on account of the Cardinal de'Medici for the
sepulchres of San Lorenzo. » l When about to leave, Michelan-
gelo advanced one hundred ducats in gold to one of the above
mentioned Companies for a certain quantity of marble estimated
at about two hundred loads, 8 taken from the quarry of Pol-
vaccio (still the best quarry of Carrara marble) which were
to be forwarded by boat at the end of eighteen months from
that time, and the contractors bound themselves to provide the
« said quantity in the time specified and especially to make
three figures of the said marble and more if they could do
so ; and of squared marble, * as much as they could between
this date and the end of July. » On the following day that is on
the 23d April, he advanced fifty ducats in gold to the other
Company, for another hundred loads of marble which were to
be ready in a year « and especially to make from the said marble
a figure of our Lady sitting, according to Michelangelo's design
and other figures besides, if possible, betwen this time and the
end of next July. » The contracts thus briefly recapitulated refer
exclusively to the preparations for the sepulchres of the Medici
and the statue of the Madonna in the Chapel of San Lorenzo,
and have a special interest, as they explain the nature of the
preparatory steps which Michelangelo required upon the part of
the contractors, the description of the drawings which he pro-
vided, and that he placed sufficient confidence in the contractors
to leave the blocking out of the figures in their hands, without
his personal superintendence.4
1 Vasari, V. in, p. 358.
* Or tons.
* That is marble for building.
4 On examination it will be found that the marble employed for all the architectural
portions of the monuments of the Medici are from the old and celebrated quarry of Pol-
vacclo In the Carrara mountains. A quarry first opened by the ancient Romans and
from which it is said by judges of the quality of marbles, that the column of Trajan in
the Forum of Trajan Rome, was formed.
I have been indebted to Signor Bond! of Florence for a practical Judgment of the
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AND HIS WORKS 268
It was in the spring season then of 1521, that Michelangelo
ordered the excavation of the marble for his celebrated works
the monuments of Giuliano and Lorenzo, including some of the
statues, and that of the Madonna and child (which has never
been completed), and which is now in the same Chapel placed
between a figure of San Cosimo by Fra GL Angiolo Montorsoli,
and another of San Damiano by Raffaello da Montelupo.
It appears on examination that all the statues of the monu-
ments are not of the same marble. Michelangelo was unwisely
interfered with, by inconsiderate and incapable officials who
provided him with marble without consulting him as to its qua-
lity and fitness, of which he justly complained.
The great sculptor again returned to Florence and resumed his
work upon the Christ commissioned years before in Rome by his
friend Metello Varj. In harmony with his contract he commenced
the statue in Rome, but when some progress had been made, a bad
mark was discovered in the face, and he at once sacrificed the
marble and labour expended upon it and resolved to commence
it over again from another block. Circumstances prevented his
doing so in Rome before he left that city in 1516 for Carrara,
and after his engagement as architect of San Lorenzo, and his
occupation in the quarries of Serravezza, he can have had little
time to devote to it, but it was not forgotten. Amongst the
blocks of marble, which from time to time he transmitted to
Florence to his new studio, there must have been one destined
for this statue, to which he devoted a part of his time so soon
as his contract for the front of San Lorenzo was dissolved, when
he returned to Florence.
That its progress was interrupted by the events related, must
have been the case; but after his visit to Carrara and arrange-
marbles used by Michelangelo in his works at Florence. As Signor Bondi Is a sculptor
and deals in marble, he is a good jndge of all the qualities.
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264 MICHELANGELO
ments there for the supply of marble, he could again dispose of
his time and he carried it onwards towards completion between
April 1521 and the following August. It was then sent to Rome
under the charge of his servant and pupil Pietro d' Urbino, for
whom Michelangelo entertained a special regard, and considered
to possess a fair amount of ability.
But Pietro however good a workman when employed under
his great master's direction, soon showed how little he was cap-
able of working, when left to himself. Parts of the statue which,
if entirely finished, might have been injured in the packing or
transport, such as the extremities and the hair, were to be com-
pleted in Rome by Pietro from his master's drawings. What he
really did under these circumstances is described by Sebastian
del Piombo in a letter dated Rome the sixth of September and
directed to Michelangelo, who must have read it with no little
vexation :
< But I must give you to understand, that all that he has
worked upon is disfigured, especially he has done the right foot
in such a manner that it is manifest that the toes are sliced
off, he has also shortened the fingers of the hands, especially
that which holds the cross, which is the right, so that Frizzi
says that they look as if they had been wrought by those who
make dolls, and they do not appear to be of marble but rather
to be made of paste, they are so stiff: and this I see, who do not
understand working in marble; but this I say, that to me the
fingers seem much shortened, and I may also say that it is
obvious that he has so executed the beard, that I believe my
boy would have shown more discretion, for it looks as if he had
tried to finish it with a knife with a blunted point, but this may
easily be remedied. » He then goes on to say that, as Michelan-
gelo had written to him, he had come to an understanding with
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A1JTD HIS WORKS 265
the sculptor Frizzi to undertake the work instead of Urbino,
and that Metello Varj was satisfied, that it should be so and
with the selection of the artist.
« I believe » he adds « that Frizzi will serve you with all
regard, he appears to me to be a good man, and I have besought
him to touch the figure as little as need be, and we have 'agreed
to lower it almost a palm. » *
Sebastian then goes on to describe the evil courses into which
Urbino had fallen in Rome, overcome by temptations and an
utter forgetfulness of the trust reposed in him.
On the nineteenth of October of the same year Frizzi had
completed his undertaking, and placed the statue in the position
which it was to occupy, which was not that desired, nor in a
good light. It was set up in front of one of the pilasters of the
chancel arch where it is now, and as Urbino in conformity
with his reckless conduct gave a wrong measurement « the feet
of the statue Were so placed as to be on a level with the eye »
this and Sebastian's previous remark are unintelligible. Per-
haps the level of the statue has since been altered.
On the nineteenth of October, Frizzi himself wrote: « I have
by your letter and by others from you that you wish to know
what you have to give me for the work of finishing that little
which was wanting in the statue. There was so little to do that
I am ashamed to ask any reward, however not to seem obstinate
I will tell you — although against my will — that when you
have given me four ducats I am overpaid.*9
Of the sculptor Frizzi nothing further is known, but he ap-
pears very favourably in his letter to Michelangelo and in his
* ' Buonarroti Archives.
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266 MICHELANGELO
successful repair of the disfigurement of the statue by Urbino.
He was evidently esteemed a good artist by del Piombo, but
whence he came or out of what school there is no record, and
his only work of which there is any notice is a small monument
at Bologna, made it is not known for whom. Michelangelo who
entertained a great regard for Metello Var j being apprehensive
that notwithstanding the care with which Frizzi had repaired
the statue he might not feel satisfied, wrote to him and offered
to do it over again. Varj replied that he was greatly obliged
and that his offer was a proof of his much valued friendship
« showing » he writes « your great mind and generosity that
you wish to do over again a work than which there can be no
better in the world and which is without its equal.*1 In token
of his friendship he presented the artist with a horse. He had
also consulted him about another statue which he wished to
place in the court of his house, and Michelangelo asked for the
measurement and that it might be left to him, but the generous
offer implied, Varj declined « not wishing to take advantage of
him and being entirely satisfied with the statue which it was an
honour to possess as if it were of gold, and all sufficient to show
the generosity of Michelangelo, who had served him for love
and not for money, doing it over again when marks appeared
in the marble for the first; » a fact Varj adds « which ought to
silence evil tongues which have spoken of you and me regar-
ding this work. » *
This statue considered as a work of expression and of religious
art, is in both respects without a parallel in its irreverence. It
is impossible to do otherwise than to shrink with pained feel-
ings from a figure of the Saviour represented without covering
of any kind. The letter of Varj estimated from the same view
1 Buonarroti Archive*. Letter of Metello Varj 13th November 1521.
' Buonarroti Archives.
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AND HIS WORKS 267
is a strong testimony to the depraved taste and debased religion
prevalent; when such a statue of Christ triumphant over death
could be imagined or tolerated.
If it can be forgotten whom the statue represents its value as
a work of art may then be fully estimated. It is a noble em-
bodiment of manly beauty and grace. As a St Sebastian, with
the exception of its utter nudity, it would have been perfect.
A noble figure of early manhood with a look of glowing triumph
on the face it might have been brought within the pale of christian
art as that Saint or some other youthful martyr. But considered
as a statue of the Saviour, with all His sacred associations, its
excellence as a work of art is forgotten in the surprise and pain
with which it is necessarily looked on by every reverent mind.
Sebastian del Piombo must be in error as to the hands, if in-
jured by Pietro d' Urbino, in the manner which he describes,
nothing could have restored them to their actual and perfect pro-
portions. The right foot has evidently been damaged, it is short
and inferior to the left. The hair of the beard, which from the
letter, must be assumed to be Frizzi's work does him great credit.
It has not the boldness of locks sculptured by Michelangelo but
it is carefully and gracefully executed.
This statue is now consigned to darkness. Santa Maria so-
pra Minerva has been restored at a great expense, with ex-
traordinary magnificence and with almost incredibly bad taste.
The windows have been filled with painted glass which has so
darkened the church, that Michelangelo's Christ the marble of
which is now much discoloured, appears as a black mass. An
execrable brass drapery round the middle of the figure, and a
brass shoe on the right foot complete the absurdity of its po-
sition and appearance. But with the exception of artists, the
Italians are not troubled with taste, and the clergy especially
set its laws at defiance.
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268 MICHELANGELO
It may be a relief to turn from this work of art to note the
liberality and generosity with which Michelangelo gave designs
to artists of all classes who applied to him for help. The fol-
lowing is a specimen of the nature of the applications made to
him which it appears that he was generally disposed to listen
to with favour, even when circumstances prevented his com-
pliance. In 1521 Valerio Belli a gem cutter having a fine cor-
nelian besought the master to give him a design, that he might
produce a work which would do him honour. Artists of repu-
tation were glad to avail themselves of his counsels and to carry
out his designs.
This year was marked by an event in the private life of the'
great artist which recalls his friendship for the Syndic Piero
Soderini. His nephew Niccol6 Soderini requested him to accept
the office of godfather to his son, which Michelangelo willingly
consented to, that he might show his regard for a family towards
whom he thus became further bound by ties of a sacred character.
On the first of December 1521 Leo the X died suddenly, when
his ambitious policy was crowned with success, and when he
had apparently touched the apex of his fortunes. The refine*
ment and splendour of his court, promoted by his personal tastes
and high cultivation, and the excellence of many of the works of
art produced during his pontificate, together with his patronage
of literature, have given him a reputation beyond his real deserts.
The treatment of Michelangelo forms a dark chapter in the
history of a Pontiff whose name has been transmitted to posterity
as an enlightened encourager of the fine arts, and has been given
to the age instead of that of Julius, as the name of his country-
man Vespucci was bestowed on the new world instead of that
of Columbus, and with equal justice.
He arrested the progress of Michelangelo's greatest work of
sculpture, and compelled him to excavate blocks of marble from
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AND HIS WORKS 269
mountain sides, which if cut under the direction of the usual
and fitting agents, might have been carved into works of art
by the great sculptor. He reversed the order of things by ma-
king Michelangelo a quarryman, and in preventing the execution
of the monument of Julius, he was influenced by selfish motives,
shared in by his relative and successor Clement.
Leo was succeeded by Adrian of Utrecht who as Pope retained
his own name. He had been tutor of Charles V, and was dis-
tinguished for the purity of his morals and his profoundly
religious character, in these attributes he was utterly unlike his
predecessor. He was not without love of art, but he preferred
that of Flemish origin. He also valued erudition. On his unex-
pected elevation it was neither art nor literature to which he
devoted even a portion of his attention, but the promotion of relig-
ion and the reformation of morals.
Artists saw in his election the withdrawal of employment
and the decline of their fortunes, and with them the new Pontiff
was as unpopular, as infinitely to his honour he was with the
followers of the Papal court, upon whom he sought to enforce
the practice of virtue and the observance of religious duty.
Michelangelo readily found consolation, for he resumed the
interrupted work on the monument of Julius.
Towards the close of Adrian's brief reign, he was invited to
revisit Bologna under interesting circumstances. It was at this
time intended to complete the front of the, great Gothic church of
San Petronio, and architects had in the usual manner been
invited to make designs, amongst whom Baldassarre Peruzzi had
made two of which one was in the style of the church and the other
in the revived classic manner. A serious difference of opinion
arose, and the officersof the works resolved to appeal to Michel-
angelo to visit Bologna to assist them with his judgment.
They offered to pay his expenses and a generous honorarium
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MICHELANGELO
He did not however make this visit. Had he done so there can
be no doubt that he would have decided against a medieval
design. The front was not executed and remains unfinished
now, and any capacity to design a medieval front remains to
this day as invincible a problem to Italian architects as in the
age of Michelangelo.
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Chapter XII
aedinal Giulio de' Medici was elected Pope on
R the 18th of November 1523, and took the name
of Clement to demonstrate to all, it is said, his
I desire to practice the virtue of clemency in his
government of the Church and of the State.
Under Leo and Adrian he had manifested great administrative
ability and he commenced his reign with prudence, whilst his
personal conduct was marked by conciliation and the discharge
of his duties, whether as Pontiff or Prince, in a manner indicative
of his wish to win respect and confidence. In his treatment
of science, literature and art he was not wanting in the tra-
ditional culture and tastes of his family, and he especially dis-
tinguished Michelangelo by his favour, he recalled their early
friendship, he admired his genius, apprehended and esteemed
his character and was not deterred by his faults of demeanour
or temper from offering him honourable employment and adequate
remuneration; his whole conduct towards the mighty artist is
marked by consideration, indulgence and a desire to win his
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272 MICHELANGELO
regard and if possible to make him happy and contented in his
work, all which shows how entirely he understood his peculiarities
and valued his ability.
A few days after the election of Clement, Michelangelo gave
expression not only to his own hopes, but to those of artists
generally, when he wrote the following sentence in a letter to a
marble cutter at Carrara, Domenico called Topolino: «You have
heard how Medici is made Pope, at which I think all the world
rejoices and whence I think that here many things will be done
for art: » the letter is dated the 25th November 1523. Michelan-
gelo's anticipations, thus promptly expressed, were soon realized.
Shortly after his election the Pope contemplating in the spirit of
the age and according to the usage of his family, the erection
during his reign of important works and the continuation
of others commenced under his cousin Leo, appears to have
thought how he could best secure the services of the Master
spirit Michelangelo. It is evident that he was hostile to the
continuation of the monument of Julius and determined to employ
the great artist on commemorations of the Medici rather than
of the Delia Bovere, and a plan presented itself to his mind,
which if successful would insure the absolute obedience of a man
of genius, who had so frequently manifested his insubordination
to his predecessors. He proposed that Michelangelo should bind
himself not to marry and should take orders, but this he refused
to do. On the 13th of January 1524 Giovanni Francesco Fat-
tucci addressed to him an affectionate letter on the subject of
a proposed stipend. He had been the means of suggesting to
him on the part of the Pope the desirableness of his taking orders,
« as many worthy men have done, » but Michelangelo was not
to be persuaded to this step. Fattucci's next letter says:
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AND HIS WORKS 273
« Meanwhile think that all those things which you desire now
or may desire, not one of them should be wanting. It need not
have annoyed or surprised you, if I wrote to you of wife — or
of minor orders — for I hope to act in such a manner, that
when it pleases God that you shall not be able to work whether
from old age or infirmity, you should always be independent
as long as you live, nor have I shown your dejected letter in as
much as you condescend to ask fifteen ducats a month, which
is too bad; not even Pietro Gondi in proposing twenty- five, threw
his ball far enough. Messer Iacopo (Salviati) has given orders
that it should be- written to Spina to pay you a monthly pro-
vision of fifty ducats, and all that you may order for the ex-
pense of the work, and Messer Iacopo has said, that you give
instructions that an account be kept by whomsoever you may
choose, of all the expenses which you incur in the said work,
and know that for the Library which is to be made, or Fagade,
or other work at the expense of our Lord, he desires that all
should pass through your hands. At the .same time I say to you
on my own part, good luck to you with your fifty ducats a
month, which I hope will soon be the pension which you are
to have increased to one hundred ducats a month, or perhaps
more, if it please God. To day Messer Iacopo said to me, that
in everything they wish to satisfy you. » *
It is evident from this letter that Michelangelo declined to
take orders. It is to be presumed that had he done so he would
*no longer have been his own master even to the small extent
of independence hitherto possible, his vows of obedience and his
pension would have placed him absolutely under the control of
the supreme Pontiff, to an extent little in harmony with his
disposition and character. The monthly allowance was then
1 Buonarroti Archives.
18
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274 MICHELANGELO
proposed apart from the question of orders, and it is evident that
he at first entertained the idea with a certain approval. This
plan of payment was obviously better than that of including the
artist's honorarium in his estimates.
Clement thus commenced his transactions' with Michelangelo
on a very different footing from his predecessors. Julius, however
affectionately he regarded him, forgot at times to pay him, and the
system, already alluded to, of comprehending his personal pay-
ments in the sums advanced for work, evidently led to serious mis-
understandings, especially in the case of the Julian monument,
subjecting the great sculptor to calumnious accusations and in-
dicting upon him mortification and suffering. Leo's advances
were made on the same footing and certainly do not appear to
have been generously calculated; Michelangelo was very in-
adequately paid for his labour. There is a remarkable allusion
in the letter of Messer Fattucci to the « Fagade » with regard
to which Michelangelo's engagement had terminated; it may
have been that Clement had some idea of resuming this inter-
esting and important enterprise.
Michelangelo at first regarded the plan of the salary with
^ favour, or he would not himself have suggested its amount. x On
reflection however he refused it and it required pressure from
his friends to induce him to take the provision so freely offered,
and for some months he endured privation rather than do so.
It appears that he was not satisfied with the nature of the work
required of him; this can only be explained by supposing that
he did not in reality like employment as an architect, or com-
missions which interfered with his practice as a sculptor. He
had been made a painter against his will by Julius, an engineer
equally against his will by Leo, and now Clement imposed more
architectural works upon him than was agreeable to him. On
1 His letters show his doubts « I do not know > he writes « what 1 shall think a year hence.>
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AND HIS WOEKS 275
being required to consider the plan of the Library, he said, «it
is not my profession, » the very expression which he used to Julius
in 1508, when pressed to paint the vault of the Sixtine.
The new Sacristy of San Lorenzo 1 was making progress
however. By Michelangelo's contract with the quarrymen at
Carrara the marbles ordered in April 1521 were to be for-
warded to Florence in eighteen months. A portion reached that
city during the short reign of Adrian, and were ready for the ,
Sculptor's operations so soon as the election of Cardinal de' Me-
dici to the Pontificate gave a new impulse to works, which, so
far as the sculpture was concerned, were in abeyance, but the
building of the Chapel made progress even in Adrian's reign.
Being of Fiesole stone, he was independent of supplies from
Carrara, and that the walls had risen to a considerable height
is shown by the fact, that, soon after the election of Clement,
Michelangelo commenced the architectural parts of one of the
monuments, which he could not otherwise have done.
The workmen engaged gave no little trouble, and a certain
Stefano di Tommaso, who from a miniature painter had become
an architect and had acquired sound practical knowledge, and
whom he employed as clerk of works, showed a particularly bad
disposition, which recalls the prudent advice of Domenico Bon-
insegni to employ men of « some other nation » rather than Flo-
rentines « who all pretended to be such great masters. »
Michelangelo thus writes to his valued friend Piero Gondi, who
had been kind to Stefano :
« Piero. The poor ingrate has this nature that if you succour
him in his necessity he says that what you give him is of your
superfluity: if you put him to some work to do him good, he
says that you were obliged to do so, not knowing how to do it
1 Now called the Medici Chapel. It Is not used m a Sacristy.
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276 MICHELANGELO
yourself, you put him to it, and of all the benefits which he
receives, he says that they proceed from the necessities of the
benefactor.
The ingrate waits till such time as he, who has done him good,
commits some blunder which may give him an opportunity of
speaking ill of him, which if he is believed, he thinks that he is
thereby relieved of his obligation. So it has always happened
unfortunately for me, and no one has annoyed me — I speak
of artisans — but those to whom I have done good with all my
heart, then because of some oddity or craze which they say I
have, which harms no one except myself, they have spoken ill
of me and vituperated me, which is the reward of all good men.
I write to you on the conversation of yesterday evening re-
garding the affairs of Steftno; as yet I have not placed him, for
if I could not be there myself I could not have found another
to put there; all is done to do him good rather than for my
service, and finally that which I do, I do for his benefit, for I
have undertaken to aid him and I cannot abandon him; let him
however not think or believe that I do it from any need ; men
are not wanting thank God, and if I have urged him on these
dayfe more than usual, I have done so because I am busier than
usual, and it is necessary that I should understand if he can or
if he will or if he knows how to serve me, so that I may be
able to think of my affairs. Not seeing clearly his wishes, I,
yesterday evening requested you, who had undertaken to let me
know his opinion, to ask if he knows how to do that which I re-
quire, and if he can whether he will. And if it be possible that
you should learn from him what he wants per month to be over
the workmen, and to teach them to do the work and that which
I may order. As to the workmen I pay them. I requested this
of you yesterday evening, and again I beg that you explain to
me what mind he is of, and do not wonder that I have written
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AND HIS WOEKS 277
to you on the same subject, for it imports me much for various
reasons, and chiefly for this that if I gave him up without
explaining myself and put another in his place I should be held up
amongst the Piagnoni (the followers of Savonarola) as the great-
est traitor that ever was in this world, although I was justified.
Therefore I beg that you will help me, true, I give you trouble,
but you wish me well.»
21st day of January 1524. !
MlCHELAGNIOLO
Sculptor in Florence.
In this letter Michelangelo alludes regretfully to his own hasty
temper, and from his description of the disposition of Stefano,
he could hardly have adopted a more certain method of insuring
trouble to himself and discord amongst his workmen, than by
the employment of this ill conditioned man. In the last sentence
the allusion to the Piagnoni or followers of Savonarola, throws
light on this extraordinary appointment. Michelangelo had been
an adherant of Savonarola, and feared to offend the Piagnoni, of
whom this Stefano was one.
Whilst busy with the Sacristy and the monuments of the Me-
dici at the commencement of 1524, the Pope proposed another
work to Michelangelo to which he attached great importance, that
was the erection of a building, to contain the famous collection
of books and manuscripts which formed the Medici Library.
Giovanni Francesco Fattucci acted as intermediary between the
Pope and the artist, and by a letter of the second of January
requested that two designs might be prepared for consideration,
one in the Greek and the other in the Latin style. To this
request Michelangelo replied that although he had heard the
wish of the Pope and what had been said on the subject by Ste-
1 Buonarroti Archives. There is also a copy of this letter on the back of an Archi-
tectural drawing in the Buonarroti Museum Florence.
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278 MICHELANGELO
fano, still he had no precise information of where the Pope wished
the new building to be, and he would await the return of Stefano
from Carrara, « to obtain better information, and to do all that
I shall be able to do, *al though it is not my profession. »* This
is a singular expression of diffidence and shows that, at this time,
confidence in himself as a constructive architect was not estab-
lished. The problem given him to solve, was a difficult one.
He had undertaken the front of San Lorenzo and the new Sa-
cristy, but neither presented such difficulties in practical design
as the proposed Xibrary, and he therefore wished for the return
from Carrara of the experienced Stefano, before giving his reply.
Having examined the site and considered the nature of the
building required, Michelangelo prepared the necessary drawings
and sent them to Giovanni Fattucci to be shown to the Pope.
On the tenth of March, Fattucci wrote that the Pope had seen
the designs and had said: « There is the right to do that one
next the piazza, that is to say the longest, which is ninety-six
braccia. There remains a little doubt on his mind as to the
stair, for rising six braccia: nor does it please him that you
should place wooden joists and beams over the Chambers, lest
they should be exposed to the danger of some drunkard, who
might set the library on fire; he wishes you to think whether it
can be vaulted, and he thinks it possible, because the span is so
small, that the walls will carry the vaulting. He thinks much
of the ceiling, and wishes it beautifully designed and not merely
panelled, but with some new fantasy. I return to you the plan
of the library. There are marked in it two small studies between
which, is the window, which faces the entrance of the Library,
and in these little studies he desires to place certain books to
be kept secret; and he also wishes to utilize those, which have
the door between them; and farther he wishes to know what the
1 Letter to Francesco Fattucci, January 1584.
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AND HIS WORKS 279
window at the head of the Library looks upon, whether on a
garden, or on roofs or stables. Inform him by all means, and
you will send the design and do it in such a manner, that it
will be seen how the stairs are to rise those six braccia, and
explain all, and anyhow send some one on the roof to see what
that window looks over. With regard to the houses which are
towards the Via della Stufa, he says that he will have them
thrown down, please G-od. » 1
A few days after Fattucci wrote again in the name of the
Pope « that he should build the Library where he wished, that
is over the rooms on the side of the old Sacristy, in every case
send the design and put in the stair exactly and that it may be
well understood, and arrange, that at the upper end of the Library
there may be a window between the two little studies of about
six braccia each, as it is drawn in the other, and two others
which will be on each side of the door. And with regard to fire,
the Pope wishes that the rooms under the Library may be
vaulted in case some drunkard, as may occur amongst priests,
might set fire to a room, and it might spread from the room to
the Library; and above he would like a beautiful ceiling, but
wishes to avoid square panels like those here, which do not
please him. » *
This terminates the correspondence at this time on the subject
of the Library, which was not recommenced till a later period.
It is interesting to observe the Pope's manner of directing the
preparation of plans and his criticisms upon them, when laid
before him. He does not examine them with careless eye nor
merely look at the general taste of the design, he considers the
disposal of the spaces, the measurements of the details, whether
a stair can be included in a given space, which shows that Mi-
chelangelo did not supply a section as well as a plan, he inquires
1 s The Buonarroti Archive*.
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280 MICHELANGELO
what a window looks over. He is in fact eminently practical
and judicious. It is probable that it was a relief to him to torn
from his political troubles to such congenial occupations, and
art owes much to this flexibility on the part of Sovereign Pontifih,
who regarded it with favour and found time in the midst of
labours of state, in comparison with which those of most other
sovereigns were light, to promote its prosperity and the well
being of its professors, by a personal care and attention so re-
markable. The history of the Library, for which Clement was
desirous of providing a home and in the plans for which he took
so intelligent an interest, may be briefly referred to.
The famous collection of books and manuscripts known as the
Library of the Medici, and second only to that of the Vatican,
owed its origin to the zeal and learning of Roberto de'Rossi, who
was invited whilst resident in Constantinople to accept the Chair
of Greek literature in Florence. After many changes of owners
and many vicissitudes, during which happily the collection was
further enriched, the books and manuscripts were placed by the
care of Clement in the home prepared for them by Michelangelo.
Part of this Library came into the hands of Cosimo de' Medici,
the elder, who was a pupil of de7 Rossi, and the rest of it passed
in succession to various persons, who augmented the treasures
which it contained, and finally to the Monks of San Marco, in
whose convent a hall dating from 1444 was constructed by orders
of Cosimo especially for the custody and care of books and manu-
scripts, and which, according to Flavio Biondo of Forll, was the
first library built in Italy. The monks did not long enjoy the
privilege of this noble possession; they interfered in the affairs -
of the Republic, got into debt, and sold the famous library, which
was bought for the sum of two thousand six hundred and fifty
two ducats by the Cardinal Galeotto Fanciotto acting as Com-
missioner for the Cardinal Giovanni de' Medici afterwards Leo X:
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AND HIS WORKS 281
he conveyed it to Borne and plaoed it in the Villa Medici on
the Pincio, where it remained till 1522. Both as Cardinal and
subsequently as Pope, the possessor of this Library enriched it
with valuable additions and expended large sums upon splendid
bindings, in which all that taste and skill could do were exhausted.
Competent agents versed in literature were sent into all countries,
where it was to be hoped that rare works might be found, pro-
vided with unlimited means for their purchase, and he sent a
friend to Denmark, not so easy an enterprise then as now, it
being rumoured that the lost books of Livy were preserved in
that distant land.
To make his earnest desires for the acquisition of rare books
as widely known as possible, at all events amongst literary men,
he caused, to be inserted on the back of the title page of the
edition of Tacitus, published by his orders in 1515, the following
early specimen of an advertisement:
Nomine Leonis X Pont. Max. Proposita
Pbaekia Non Mediocbia Sunt
His Qui Ad Eum Libbos Vbtbbbs
Nbqus Hagtbnub Editos Attulbbint
On the death of Leo, his cousin and Executor Cardinal de' Me-
dici caused the library to be conveyed to Florence, and when on
the death of Adrian he was elected Pope, he determined to con-
fide to Michelangelo the erection of a suitable edifice for the per-
manent preservation of the collection. Michelangelo was then
occupied with the Medicean chapel, and it was decided that the
new library should be built close to the same Basilica on the
other side.
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282 MICHELANGELO
During the progress of the correspondence regarding the pro-
posed Library buildings, advance was made with the new Sacristy
and the monuments of the Medici, indicated by a memorandum
written by Michelangelo on the twenty-ninth of March 1524.
« I record, that Maestro Andrea of Fiesole, mason, foreman of
the works of Santa Maria del Fiore has come to overlook the
work of the sepulchres which I am making in the Sacristy of
San Lorenzo, that is to place the stones before the men who
square them, and he will come to see the work once a day for
an hour, and if needful will stay half a day or all day, thus
we have agreed, and the said Master Andrea asked me for this
six ducats a month, and I offered him four.
And the said Master Andrea obtained at the Cathedral works
the necessary consent from Messer Iacopo da Prato. » l
Nothing can be more practical or businesslike than these
arrangements. Another record of the thirty- first March shows
the advance which at this time had been made with the mon-
uments.
« I record, how on this day the last of March there has been
carried from my room of Via Mozza to San Lorenzo a piece of
marble four braccia long (seven feet ten and a half inches) and
a braccio and a half wide (two feet ten and a half inches) and
from two thirds to three quarters thick to be used in the sepulchres
of the Sacristy, and this is done because the masons have taken
away from me a certain small cornice of two pilasters, so that
being no longer there, it must be made over again. Not to
keep them waiting, I have sent marble of my own, and if I send
more for the other which is wanting, I shall write it below. The
masons who have taken it from my room in Via Mozza to San Lo-
renzo, are these: Scipione of Settignano, Urbano Bando of Set-
* The Buonarroti Archlvea.
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AND HIS WORKS 283
tignano, Marchione son of Scipione, Biancalana of Settignano,
Bellegote of Settignano and Torello of Porta alia Croce. » x
Not only did these workmen give an extraordinary amount
of trouble, but they stole masses of marble.
By measuring the central portion of the cornice of the first
order of the elevation, immediately behind the Sarcophagus of
Giuliano, it will be found that it corresponds closely with the
block of marble described as having been sent from the Studio
to the Chapel, The cornice is a little shorter, than the rough
block, as would be the case when wrought; it rests upon two
piers which may be described as pilasters, therefore by the end
of March 1524 the first stage or order of the architectural back-
ground of Michelangelo's design was ready for its cornice.
During the progress of these works Michelangelo abstained
from drawing his salary, and besides gave up a house expressly
provided for his convenience and for facilitating his operations
in San Lorenzo. The cause of this apparently extraordinary
conduct upon his part was the state of affairs with the heirs of^
Julius II.
Michelangelo had always shown himself willing to go on with
the monument and whenever he had opportunity, he gave his
attention to it and worked with zeal, abandoning it only under
pressure which he was unable to resist.
The question with the heirs this year entered on a new phase.
The Cardinal Santi Quattro made new proposals to Michelangelo
through the ever active Pattucci, stating « that he was entirely
disposed to be guided by his wishes, even to the extent of the
monument being completed by other artists* and he added «that
he had the consent of the Duke of Urbino to this proposal. »
Unhappily in the course of these negotiations new differences
of opinion took place, and the heirs determined to bring an
1 The Buonarroti Archives.
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284 MICHELANGELO
action. This greatly distressed Michelangelo ; he at once said
rather than go to law he would acknowledge himself to be in
the wrong, and in this mood — so. unjust to himself — under
great depression he wrote to Giovanni Spina.
« I suppose myself to have pleaded and lost, and to be obliged
to give that satisfaction which I am already willing to give.
If the Pope will aid me in this matter, he will greatly gratify
me, seeing that now I cannot finish the monument of Julius,
being old and suffering in health. An arbitrator may decide
what I should restore of what I have received to execute it, so
that I may be freed from this burden, and so that the relatives
of Pope Julius with that repayment may have it done by whom
they will to their satisfaction. Thus His Holiness might greatly
aid me, and in this also, that I should have to restore as little
as may be within the bounds of justice, and by obtaining a
hearing for some of my reasons, how that for the Bronze statue
t of the Pope at Bologna and on other occasions, I had no payment
whatever, as Ser Giovanni Fattucci well knows, and so soon
as it is made clear what restitution I have to make, I will take
stock of what I certainly have, and shall so act as to make
restitution, and then J shall be able to think of the business of
the Pope and to work, for in this way I do not live. I can
attend to no works, no method could be adopted that would be
safer for me, and it may be done amicably without law pro-
ceedings, and I pray God that the Pope may be pleased thus to
arrange it, for it does not appear to me that it can be undertaken
by any one else. » *
It has been evident throughout the history of the Monument
of Julius, how highly Michelangelo esteemed the commission.
1 The Buonarroti Archive*.
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AND HIS WORKS 285
He believed that it would in a special manner do him honour,
it employed all his great faculties as a designer and sculptor,
that is in that high branch of art which he most honoured, and
in which he considered himself most skilful. But it was again
and again interrupted, he was prevented going on with it and
fulfilling the duties which he had bound himself to perform, for
which he had received large advances of money, whilst he was
compelled to execute other commissions, not — as he said him-
self— « within his profession. »
It is obvious that it was not Michelangelo's fault that the
Monument was not completed. On the other hand the Delia
Rovere had just and serious cause of complaint, nor could the
artist's counter claims affect their position. Of Michelangelo's
belief in their justice there can be no question, but it seems
doubtful if they could be legally enforced. The heirs had made .
a bargain for the execution of the Monument and advanced
large sums, without any statement upon Michelangelo's part of
his claims against the late Pontiff's estate, on account either of
the bronze statue at Bologna or the frescos of the Chapel of Six-
tus. In reality Michelangelo had done a great deal of work,
which the interruptions proceeding from the acts of the successors
of Julius in a measure made useless. The statues which oc-
cupied years of labour, and his models and materials were wasted,
and whilst large sums had been advanced by the family of the
Rovere, there was no prospect of the completion of the Mon-
ument without modification of the design.
As a protest against the interruption of Iris work, and to show
his sense of the arbitrary manner in which he was compelled
to give all his time to Clement, Michelangelo refused to accept
his salary, and gave up the house which had been provided for
him. A letter from his friend at Rome, Lionardo the saddler
shows what was the impression made by his proceedings.
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286 MICHELANGELO
Rome 24th March 1524.
« Besides he tells me that you have refused to accept the
provision, which seems to me the other craze, and that you have
thrown up the house and do not work. My friend let me remind
you, that you have enemies who say all the evil they can of
you, and you have for friends a Pope, and Pucci and Iacopo
Salviati, and the promise of their support, and you have a name
to lose, especially where honour is involved; leave the questions
of the Monument (of Julius) to those who wish you well, and
resolve not to fail in the work for the Pope; rather die; take
your salary, which is freely given. » *
This friendly letter soothed the agitated mind of Michelangelo.
He was led to see that the form of protest which he had adopted
was useless in respect of the powers that were, and did him no
good with the family of Delia Rovere. He returned to the house
in San Lorenzo and continued his work, as he wrote to Gio-
vanni Spina. « Like an honest man, who makes himself to be
talked about, doing me great harm not to return there. »
It appears certain that the difference with the Executors of
Julius and the threat of law proceedings took place in 1524, but
whether before or after the above letter of Lionardo, is some-
what uncertain. Michelangelo does not appear to have accepted
payment of his salary till October of the same year. He has
left a record that on the nineteenth of that month he was paid
four hundred broad ducats in gold, being his salary for eight
months. It appears that he acted in an undecided not to say
capricious manner, at one time reconciled to his position by the
influence of his friends, then breaking away again and refusing
all terms, no doubt owing to complaints which reached him from
the Delia Rovere.
1 Buonarroti Archives.
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AND HIS WORKS 287
That Pope Clement was determined to appropriate all his
time is obvious and is shown by the correspondence renewed
in May.
Giovanni Fattucci write^on the twenty -third May 1524:
« Being on Sunday in the Belvedere and His Holiness con-
versing with Messer Iacopo of the monuments and of one thing
or other, Messer Iacopo said to the Pope: Holy Father, your
Holiness should make the sepulchre of Leo in San Lorenzo, and
if your Holiness would take my advice, you would make your
own there also. I thought that the Pope lent a willing ear,
saying « in what manner? » Iacopo replied; if there be room,
I would make two sepulchres with two sarcophagi as is proposed
for Lorenzo and Giuliano seniors, and also another with two
sarcophagi for both the Dukes, and two others opposite, one for
Leo and the other for Clement. I thought that he was pleased
and he said it would be needful to place two sarcophagi in the
Chapel, if it will hold them. x Consequently I have wished to let
you know that you may think over it and if you please yourself
inform me and do not show that I have written to you, but
rather allow it to appear that you think day and night about
the affairs and interests of our Lord, and if you see what can
be done, do not think about the expense. » *
The precise manner in which Michelangelo's time was occu-
pied during the summer and autumn of 1524, is not recorded,
but there can be no doubt that it was with the monuments of
the Medici, because in October, as has just been stated, he claimed
1 The idea was that the Chapel should contain Monuments of Lorenzo the Magnificent
and of kla brother Giuliano, of Lorenzo Duke of Urblno and Giuliano Duke of Nemours,
and of Pope Leo and Clement. Well might the Pope doubt whether there would be room
in the building.
1 Buonarroti Archives.
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288 MICHELANGELO
payment of his salary, which he would not have done had he not
worked for it. The readiness with which the four hundred ducats
were payed shows that his progress was considered satisfactory.
During this time he also thought over the project for the
proposed monument of Leo and Clement and sent his sketch to
Fattucci, who acknowledged it on the seventh January 1525:
« By your last the design for the sepulchres is understood and
His Holiness is much pleased with it: but he has doubts of that
washing place where the stair is, he leaves it to you to think
over it Therefore think of doing . something which shall be
worthy of the Popes; and although His Holiness is greatly satis-
fied and takes much pleasure in it, and in the ground work
and in everything, still it seems to me a small place for two
Popes; and for my part I would put them where the Dukes are;
but as one is almost entirely built, there is no order. Think of
ornamenting them as much as possible, and dont care about ex-
pense: the Pope expects the design for that of Leo and his own.*1
It thus appears that Michelangelo had made a proposal in
writing or sketched a plan in a very slight way and needing
explanation. The criticism as to the washing place may excite
surprise, but it is a needful feature of every Sacristy, and such
lavatories have often been themes of the best artists and designers.
A marble or stone vase of considerable size in a niche, ornamented
by a Luca della Robbia, or carved by a Mino or a Desiderio
are found in many Sacristies and excite the admiration of lovers
of art. Fattucci admits that the Pope was highly pleased, but
is himself « nothing unless he is critical » he adds his advice,
which no doubt was well meant. It may be believed that Mi-
chelangelo made the most of the space at his disposal.
1 Buonarroti Archives.
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AND HIS WORKS 289
In April of this year, Michelangelo had occasion to remind
Sebastian del Piombo of a promise which he had made, to finish
a portrait of Anton Francesco degli Albizzi a Florentine Noble.
On the twenty-second Sebastian thus replied:
« I have received a letter of yours to me most grateful, on
account of the love and affection which you continually bear to
me, which I do not merit, and sorry I am that you have had
the trouble of hastening me with your letter, that I should finish
the picture of Messer Anton Francesco degli Albizzi: it was not
needful to vex yourself about so small an affair : it may have
given you more trouble to write the letter to me, than to make
a statue: for I think, I see in much of it the humours of other
persons.
The faith and promise, which I had given to Messer Anton
Francesco, was enough, and although I failed him for five or six
days, there was no occasion for such a fuss : pardon me.
To me it seems, a greater difficulty to paint a hand or simple
piece of drapery in our art, than to make all the designs for
stairs in the world; * pardon me if I write to you in this manner,
for I believe that I do so to one who understands me, and that
you will not take it ill. I have taken so much time, that I
might do honour to you and to myself, and that I might serve
Messer Anton Francesco, who appears to me to be deserving of
service, although for him and the Godfather Leonardo I have
left all my own affairs. » 2
The portrait being completed and sent to Florence, it excited
great admiration, and Michelangelo, after he had seen it, again
1 < Cbe far tutte le scale del mondo. • Without Michelangelo's letter It Is difficult to
understand Sebastian's allusion. Possibly the Portrait 409. Pittl Gallery.
* Buonarroti Arcbires.
19
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290 MICHELANGELO
wrote, that he had once spoken of him as unique amongst
painters, and told him how the picture had been praised at a
supper at which he had taken part, to try and break through
the low spirits from which he suffered.
Florence, May 1525.
« My Dearest Sebastian yesterday our friend Captain Cuio 1
and certain other gentlemen in .their goodness, desired that I
should sup with them, which gave me great pleasure and re-
lieved me somewhat from my sadness and my crotchets. Not
only did I take pleasure in the supper party which was very
pleasant, but also in the conversation which took place. My
pleasure was increased when in the course of conversation Cap-
tain Cuio mentioned your name, nor was this all, I was still
more delighted when speaking of art I heard the Captain say
that you were unparalleled in the world and such was the gen-
eral opinion in Rome. Had it been possible to feel greater
pleasure it would have been mine hearing this tribute to my
judgment. Do not then deny when I write to you that you are
unequalled, for there are many witnesses, and here is a picture,
thank God, which proves it to every one who has eyes to see.» 2
Michelangelo was warm in his affections as in dislikes, still
this letter which apparently refers to the portrait of Albizzi is
a high tribute to Sebastian's merits as a portrait painter.
Vasari states that he was received as a Pupil by Michel-
angelo in 1525, but renlained only a short time, as his Master
was under the necessity of proceeding to Rome to receive the
instructions of the Pope regarding some designs for the new Sa-
1 Cuio Dinl. He ww killed In the sack of Borne.
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AND HIS WORKS 291
cristy and the Library of San Lorenzo. Vasari falls into an
accidental error as to the date of his introduction to the studio,
which took place the year before, but the learned annotators of
Le Monnier's edition of Vasari's lives of Artists, accept 1525 as
the year in which Michelangelo visited Rome for the above
purpose, although they do not fix the actual date. From the
paucity of records in the form of letters of the early part of this
year, it seems probable that Michelangelo was chiefly occupied
with the Medici monuments, but that his peaceful avocations were
again interrupted by a revival of the question of the Julian monu-
ment is apparent from letters written towards the close of 1525.
It is probable that the year was advanced before he made this
visit to Rome. Vasari says « Michelangelo departed for Rome
in a hurry, and was again molested by Francesco Maria, Duke
of Urbino, nephew of Julius, who complained of him, saying that
he had received sixteen thousand crowns for the said monument,
and he menaced him with evil consequences. Arrived in Rome,
Pope Clement who required his services, advised him to reckon
with the agents of the Duke, as the Pope thought, seeing
what Michelangelo had done, that he was creditor rather than
debtor. »
It appears from this that Pope Clement considered Michel-
angelo's counter claims against the heirs of Julius the second,
justified. Vasari then goes on to say that the Pope and Michel-
angelo having consulted over many things determined to finish
the new sacristy and the library, and so having left Rome he
returned to Florence and witnessed the completion of the cupola
of the former edifice,
Michelangelo's personal work for the monuments was inter-
rupted at this time by interference with his arrangements for
the supply of marble. The practical consequences were so
serious, that he felt it to be necessary to make a direct appeal
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292 MICHELANGELO
to the Pope and to explain the circumstances to him, as well as
to beseech him to' mitigate the ill-judged obstructions to which
he was exposed. Unfortunately the letter is not dated, but the
closing in of the cupola certainly took place this year.
« Most Holy Father. As go-betweens are often the occasion
of serious misunderstanding, I have taken the liberty of writing
directly to your Holiness. With regard to the sepulchres here
of San Lorenzo, I know not which is best, the evil which does
good, or the good which harms. I am certain, bad and mad as
I am, that had I been allowed to go on as I began, then the
marbles for this work would have been by this time all here,
at less cost than has been made up to this time, and they would
have been blocked out as required, and would have been as
good, as those which I have done hitherto: now I see brought
here a certain quantity, which I do not know whether it will
suit, taor do I know what they are about in the quarry, and I
see a prospect of much delay; therefore should any thing happen,
which may prove displeasing to your Holiness, I exonerate myself
thus, that not having authority, neither am I to blame ; and this
I pray, that if it be wished that I do something, men may not
be set over me in my art, but that faith be reposed in me and
freedom of commission, and it will be seen what I can do, and
the account which I can give of myself.
The lantern of the cupola of the Chapel of San Lorenzo has
been covered in by Stefano ; and every one is pleased with it,
and so I believe will be your Holiness. I have had the ball
made about a braccio in diameter and I have, to vary it from
the other, had it made in facets, which I think will have a
graceful effect, and so it is done. » l
1 Buonarroti Archives.
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AND HIS WORKS 293
Whilst he was occupied closing in the Cupola with its lantern,
some friends remarked to him: « You otight to vary your lantern
from that of Brunelleschi, on the old Sacristy » he replied : « It
may be varied, but not improved. » So impartial a judge at
this time was Michelangelo of the work of others.
. The above letter directed to the Pope is very clear as to the
annoyances to which Michelangelo was subjected. It has been
already stated that in April 1521, he had ordered marble for the
Medici monuments at Carrara, and he left drawings for the
guidance of the workmen and those who blocked out the masses
of marble which he required, there was no other way by which
he could be properly supplied, but it is manifest from the above
letter, that persons, he does not say whom, but who were set
over him, ordered blocks of marble without consulting him, which
reached Florence in their rude forms, neither dressed nor with
the preliminary work on them which he required, thus causing
to him, as he remarks, great loss of time, and much additional
labour. There can be little doubt that these were the acts of
persons influenced by interested motives. An official at the
Vatican had before tried to induce him to charge the blocks
brought to Florence for the front of San Lorenzo over again,
when some of them were used for the Sacristy, and on his indig-
nant refusal became his enemy.
To set officials over him who interfered with his work was a
profound mistake, and but for his own statement, it would seem
incredible. He was engaged at the time on one of those wondrous
statues which have been the admiration of succeeding genera-
tions, and As he worked as was his wont, in the fervour of his ge-
nius bringing forth from the marble the conceptions of his intellect,
it is not to be wondered at, that harassed by busy-bodies dressed
in brief authority, he resented their interference and appealed
directly to the only authority which could remedy these evils.
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294 MICHELANGELO
It appears from more than one letter that as the year advanced,
Michelangelo's power of work was impaired by the annoyances to
which he was exposed, and it is a remarkable fact that he, a second
time, refused to draw his salary, satisfied rather to suffer incon-
venience and deprivation, than to submit to interference and
dictation. He felt it to be necessary to make his position known
to the Pope. This time he wrote through Giovanni Francesco
Fattucci:
24th October 1525.
« I shall never cease from working for Pope Clement with
all the strength I have, not much now for I am old, provided
that the discourtesies, which are offered me, be discontinued; for
they have a great effect upon me, and have prevented me working
now for some months. It is not possible to work at one thing
with the hands, and another with the brain especially in sculp-
ture. They say here that they do it to spur me on, but I say
that they spur badly, who drive one backwards. I have not
accepted the salary for a year now, and I combat with poverty.
I am very sensitive to annoyances, and I have so many that
they keep me more occupied, than my art. I have not a person
to serve me for want of means. » x
This letter shows in the first place that his appeal to Clement
had not removed the obstacles to his work of which he complained,
he ceased to draw his salary and probably to work, refusing thus
to be bound by the conditions imposed upon him, which were
intolerable, or to receive the payment which bound him so
firmly to them. From what he says of his poverty, it is pro-
bable that his funds were again exhausted in providing for his
1 Buonarroti Archive*.
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AND HIS WORKS 295
father and brothers; he had received a payment of four hundred
ducats the previous October, and could not therefore have been
in want but from such demands upon his purse.
Negotiations were at this time again in progress on the subject
of the Monument of Julius, certain to agitate as usual the mind
of the artist, although on this occasion light does seem to break
in and. some hope of an accommodation is apparent. Michel-
angelo had written to Fattucci rather to come to terms for a
repayment upon his part, than to agree that he should undertake
more work. He was bound to the service of Clement, he was
not however old as he said and might well hope to do more. But
the idea had been entertained, that to abbreviate whatever work
remained to be done and to diminish the outlay, the Monument
should be attached to the wall like that of Pius. Michelangelo
accepted a scheme which might be carried out by other artists
under his direction, and on the 30th of October 1525 Fattucci
wrote to him how much he was gratified with his letter accept-
ing that proposal, and he besought him to hasten to forward
the design that it might be sent to the Duke of Urbino and to
Messer Bartolommeo della Rovere.
« If it pleases them » he adds « we will annul the contract
with Aginensis and make another, and His Holiness will grant
you thereon absolution as you desire. »
Michelangelo's fast friend Iacopo Salviati writing from Rome
tries to lighten his load of care and to soothe his disturbed
feelings :
Borne, 30th October 1525.
« My Dear Michelangelo. I am truly sorry to learn what
fancies have entered your head, and still more I regret them,
when I hear that they prevent you "working, the very way to
please those who wish you ill, verifying that which they have
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2% MICHELANGELO
always said of your conduct; besides it is contrary to the wishes
of our Lord, and assuredly it increases my sorrow on your ac-
count seeing the love which I bear you, that things take this
turn, and that you should be of opinion that, that which the Priest
has written to you is only to soothe you and not to do you good,
as His Holiness wishes : and besides this that every thing that
they do, is only to spur you ; these are waggeries and inventions
of those, who would do you little geod, to turn you from this
work, as all else has failed, and so being envious of your glory
and well being, to cause you to abandon it. For my part, I do
not see nor can I understand that in any respect Baccio can be
compared to you, or can do any thing which in the smallest
way can be placed side by side with your works, and I am
astonished that you should place him on such a footing, and
besides, that you should believe that our Lord should fail to do
what you wish, either in this or in any thing else. Let them
say what they like and attend to your work, and drive from
your mind these vain fancies, which are not for your credit or
our Lord's, who on his part will never fail you, and he has
commissioned me again that as you have not had your salary
till now, as Spina has written to me, that I cause him under
all circumstances to pay it to you. » l
This is plain speaking to a sensitive man, and there is kindly
good sense in it. The allusion to Baccio Bandineili is appro-
priate, and it is surprising that Michelangelo should ever have
admitted of comparison, but he knew that Clement extended his
countenance to this bad artist and ill disposed man, and he may
have measured the Pontiff's professions of good will to himself,
by his patronage of such a sculptor as Bandineili, which was so
little to the credit of his discernment.
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AND HIS WORKS 297
The universality of great artists of the fifteenth and sixteenth
centuries, so often adverted to by modem writers and held up
to admiration as compared with the limited powers and narrow
fields of labour of modern artists, may have been too dearly
'purchased. It is evident that the most incongruous and some-
times unsuitable employments were thrust upon eminent artists.
Lionardo da Vinci's time was consumed in so many ways, that
he produced few works in the branch of fine art in which he
excelled. Michelangelo, spite of his protests, had commissions
forced upon him which were distasteful to him, always to be
taken into consideration whilst criticising the results of such
labour. His genius triumphed over almost every obstacle and
his involuntary work merits our highest admiration, when the
circumstances under which it was executed are considered. Raf-
fael met the varied demands made on his time and thoughts,
in the only way in which they could be successfully met, by
surrounding himself with experts; painters, modellers and de-
corators of every kind.
Michelangelo's turn of mind and habits were different. It
has been seen that he employed assistants, but he was evidently
impatient, and dissatisfied that they could not rise to what he
expected of them. Again and again he tried the experiment,
but rarely successfully, it cannot have been that he willingly
left so many works imperfect, for when in early life he could
devote himself without interruption to the subjects of his choice,
how exquisite the finish and completeness of his statues ! he
could not tear himself from them whilst a touch remained to be
given to make them perfect in bis eyes. .
The ceiling of the Sixtine Chapel is an example of the same
devoted conscientious labour. It has been shown that he availed
himself of assistants, but their operations were strictly limited
to minor portions of the painting. How different this, from the
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298 MICHELANGELO
frescos of the Stanze or the Pamesina by Raffael, in most of
which unity of taste and of execution are impaired by the em-
ployment of assistants to paint many of the most important
figures of these celebrated frescos. Michelangelo in a different
spirit learnt by experience that no one but himself could ex-*
ecute his great designs. The solitary instance of the statue of
Christ sent to Rome with Pietro Urbano, who was charged to
finish the hair the fingers and the toes, apart from his super-
vision, must have confirmed Michelangelo in his opinion, after
the evidence of the incapacity of his assistant.
It might have been supposed that seeing how he was employed
and how he was harassed, Pope Clement would have been
careful not to increase his burdens. Yet a few days after the
sympathetic and friendly reproaches of Salviati, with protestation
of the Pope's indulgent views, we find the following remarkable
correspondence. Fattucci thus writes in the name of Clement:
10th November 1525.
« He desires that thou shalt think of the Colossus, which he
intends shall be made on the Piazza of San Lorenzo.... and
that it shall be so high that it shall rise above the summit of
his house or at least to be as high.... and that it shall turn its
back to the house of Messer Luigi della Stufa and its face
towards his own (the Pope's).... and as it will be very large
put it up in pieces. » f
Michelangelo treated this extravagant proposal with a grim
humour illustrative of the independence with which he could
express himself. He appears to assume that the Pope was
joking, and thus replied :
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AND HIS WORKS 299
«Messer Giovan Francesco: Had I as much strength, as I have
pleasure in your last, I should believe myself able to manage,
and that soon, all the things which you write to me about : but
as I have not so much, I will do what I can.
With regard to the Colossus of forty Braccia (sixty feet)
which you tell me has to go, or rather which is to be put at the
corner of the Medici garden opposite the corner of Messer Luigi
della Stufa, I have thought of it, and not a little, as you say; and
it seems to me that on that corner it will not be well placed,
because it would fill up too much of the street, but on the
other side where the barber's shop is, it would, as I think be
much better, have the piazza in front of it and it would not
produce such inconvenience in the roadway. As probably the
removal of the shop would not be tolerated by reason of the ad-
vantages of the entrance, I have thought of making the statue
sitting, and the seat would be so high that making the said
work hollow within, as it would be convenient to build it in
pieces, so the shop of the barber might be in the basement and
the rent would not be lost: and as the shop must have a chimney
as it now has, it occurs to me to place a horn of plenty in one
hand, empty within however, which would serve as chimney.
Then the head of the same figure being empty also, like the
other members, I think that it might be made use of, for there is
a green grocer in the piazza, my great friend, who has privately
assured me that it would make a capital dovecot. Another
fancy presents itself to me, only it would be necessary to make
the figure much larger and it would be possible, being in pieces,
to make a tower and the top would serve as a belfry for San Lo-
renzo, which that Church is much in need of, and by placing
the bells inside the head and the sound coming out of the mouth,
it would seem that the figure cried « misericordia, » especially on
festival days when there is frequent ringing with the largest bells.
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300 MICHELANGELO
With regard to bringing the marbles for the said statue, that
no one might know anything about it, it appears to me that
they might be brought at night; well packed, so that no one
might see them; there might be some danger at the gate it is
true, but for this, some plan might be adopted: at the worst
Sangallo would not fail, who keeps the wicket till daylight.
To do or not to do the things to be done, which you say have
to be overlooked, it is better to leave him to do, who has to do
it; I have so much to do, that I do not care to do more.
This is enough for me, that it be honourable. I do not reply
to everything, for Spina comes soon to Rome, and by word of
mouth he will say more than I can with the pen, and with
more detail. » l
The Colossus of which Michelangelo made fun was no more
thought of.
But at this time the Pope wished him to design and cause to
be executed a magnificent tabernacle for the altar of San Lorenzo,
to contain the vases and reliquaries presented to that Church by
the Medici. Michelangelo suggested that it would be better to
place a Ciborium over the Church -door, and the Pope wrote
through Fattucci:
« Above the central door, but he would be better pleased if it
could be placed lower; or the Pope would resolve to place it over
the door of the new Sacristy, as before decided; should it be de-
cided by you to place it over the altar it must be approached
by a ladder and not otherwise. In case of making it in the new
Sacristy, think of a place where the reliquaries and vases may
stay, which our Lord wishes to place. Any way give advice
1 Buonarroti Archives. Florence, October 1525.
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AND HIS WORKS 301
both about the altar with the ladder, or over the door of the
Sacristy. I believe that our Lord will do what you like. » x
Finally the idea of a ciborium was given up and a sacrarium
was constructed over the central entrance door of the church.
It appears to be thought that the Corinthian order within this
portico is by Michelangelo, but it has every indication in its
design and details of being by Brunelleschi. It is in gray Fiesole
stone whilst above it is a ballustrade within which are three
doors, the architraves of white marble, leading to closets in the
thickness of the wall. There is no stair in the wall or outside,
and whilst the sacred vessels remained there till the time of Pietro
Leopoldo, the means of access for the clergy must have been even
absurdly inconvenient.
The architecture of the doors and ballustrade is in Michel-
angelo's manner.
In addition to his other work .Michelangelo prepared in 1525
designs for the Library which, towards the end of that year, that
is on the seventh of December, he sent for the consideration of
the Pope. He received in reply a note from Pietro Paolo Marzi,
the Pope's Secretary, dated the twenty-third of December, who
stated that the «Pope was satisfied and he thought that the
circular windows would be handsome. » It would seem that
these were skylights for he goes on to say. « But the Pope does
not know whether the dust which will gather on them will not
be greater than the light which they will afford; and as to the
question of raising the wall two braccia to make the windows as
you advise, "part of the roof being up you must undo it and alter
the beams, will it then support the weight and not do harm to
the building? » 2
1 ' Buonarroti Archives dated 89th November 1525.
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302 MICHELANGELO
The Pope manifestly was of a practical turn of mind, he ap-
pears to have thought that the works which he had commissioned
were not making sufficiently rapid progress. Under the above
criticism of Michelangelo's skylights, he wrote with his own hand:
« Thou knowest that Pontiffs do not live long, and we cannot
too strongly express our wish to see, or at least to hear, that the
chapel with the sepulchres of our relatives and also the library,
should be finished. These we recommend to thee, in the mean-
while we will, as thou hast already said, exercise a saintly
patience. Gtod put it. into thy heart to hasten both together;
doubt not, that there will be wanting to thee either commissions
or rewards so long as we live. Now remain with the blessing
of God and ours. »
Julius. x
This is an earnest and remarkable letter showing the esti-
mation in which Clement held Michelangelo, as well as his sense
of the difficulty which he experienced in the management of his
excitable and variable temper.
1 Buonarroti Archives. Clement here signs with his name of Baptism.
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Chapter XIII
he correspondence regarding the Laurentian
Library was actively resumed in 1526. The
building was so far advanced in 1525, that
it was partly roofed in, but in the following
year it was so far completed that its furniture
and decorations became the subjects of consideration, and on
the third of April 1525, a letter was written to Michelangelo in-
forming him, amongst other things, of the Pope's wishes with re-
gard to a carved wooden ceiling. His Holiness was of opinion,
that the ceiling should be divided into three parts longitudinally,
to correspond with the three parts into which the floor was di-
vided, composed of a broad passage between two rows of desks
with their seats, which contain to this day the magnificent collec-
tion of manuscripts.
The Pope also advised Michelangelo to procure a supply of
firwood and walnut to make the desks and seats, and expressed
his wish that the small library should resemble the reception
room.
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304 MICHELANGELO
About the middle of April Michelangelo sent to his Mend
Giovanni Fattucci 1 his design for the door of the Library, and
his idea for an inscription to be written above it. Fattucci
when he had shown -the design and inscription to the Pope thus
wrote:
Home, 18th April 1526.
« On Tuesday the seventeenth I received your design for the
door, which after supper I showed to our Lord with more plea-
sure than I can tell you: and he read your letter at least five
or six times; afterwards he read it aloud to his attendants saying
that your suggestion was of such a quality, that he did not be-
lieve that there was a man in Rome who could have thought
of or invented it. And rising from table, he took away the
drawing and the letter, and told me to return the next day or
the day after and he would give me everything. Afterwards I
heard from the Chamberlains, how our Lord said to the Treasurer
and to Messer Paolo Jovio «I have to make a door which enters
into a library, and there is to be placed an epitaph of a hundred
or a hundred and forty letters,* he had counted the letters in
yours. His Holiness was asked if he would like one thing more
than another, and he answered: « Were I to tell you, I would
take a sheet -of paper and write it myself. Make several and I
will select that which pleases me most; and should there be
nothing which pleases me, I will give you a subject according
to my idea. » So soon as I shall have it, I will send it to you.
With regard to the wood work and other things he praised them,
and about Master Giovanni of Udine, he says that he will send
him to you, with this condition, that he will not that Master
Giovanni should think of anything but working out what you
1 Giovanni Fattucci the intimate friend of Michelangelo was a chaplain in the Cathe-
dral of Florence.
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AND HIS WORKS 305
may order, and for all His Holiness says that you should think
what is to be done, and he will send him soon, and said: «I,do
not believe that he will do that vault in six months, not to speak
of two. » With regard to the door he said that he never had
seen anything so beautiful, neither ancient nor modern. With'
respect to Master Giovanni, advise me what you wish me to say,
for, as I have said, he has decided that he should do all which you
tell him, and he is quite content: so advise me once more.» 1
Unhappily the inscription suggested by Michelangelo has not
been preserved. The letter besides alluding to the ceiling, desks
and doorway, showing that the Library was far advanced, refers
to the Pope's desire that Giovanni of Udine should proceed to
Florence to be at Michelangelo's orders, and as the Pope speaks
of the vault, this must have reference to the decoration of the
interior of the Cupola of the Chapel of the Medici.
Some of the accounts of the cost of the fabric of the Lauren-
tian Library have been preserved. The first of these, without
date, is obviously older than the last which are dated. They
appear to have been prepared for the Pope's satisfaction.
« The expense of the Library. The walls have to be newly
made, which have to be begun above the chambers which are
above the cloister of San Lorenzo, where comes the level of the
said Library, they are ordered one hundred braccia long from
the portico before the entrance, one braccio thick, sixteen high
with vaults above and below, amount, completely finished, to four
hundred and thirty ducats without the transept.
The transept eighteen braccia every way and the space on all
sides, with walls of the same height and thickness, one hundred
and ninety -three ducats. > *
' ' The Buonarroti Archives.
20
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306 MICHELANGELO
The other accounts of the year 1526 are more detailed, con-
taining the sums expended for stone and hewing. Without the
means of comparing these with the value of money now and the
present cost of wages it is needless to repeat them, but the gen-
eral impression made by their perusal is, that materials and work-
manship were cheap. .
Whilst the Medici Chapel was so far completed in 1526 that
Giovanni da Udine visited it to prepare for its decoration, the
works of the Laurentian Library dragged on for years. It was
built and covered in, but many delays took place owing to po-
litical causes and to the nature of its ornament. The richly
carved ceiling, executed by the sculptors in wood Carrota and
Tasso, must have occupied some years. The seats and desks
carved by the same artists with the assistance of Battista del
Cinque and Ciapino, must have required a considerable amount
of time and probably were not commenced till the ceiling was
finished. l The flooring by Tribolo is very elaborate, of much the
same general design as the ceiling, but formed of an inlay of
a singularly durable cement, for unless it has been renewed,
of which there is no appearance,, it has lasted in good order
till now.
The painted windows are popularly attributed to Giovanni
da Udine, but they are dated 1558 and 1568, before which last
date Giovanni was dead. It is not the least likely that he had
anything to do with the execution even of the earliest; that he
made the designs also appears to be doubtful, for they are
obviously by two artists, of whom the last is by far the best. In
method of drawing they much more resemble the work of Fran-
1 Writing of these seats to Michelangelo on the seventeenth July 1583. Sebastian
del Piombo on the part of the Pope thus expresses himself. < Oar Lord desires that
they should all be of carved walnut wood; do not hesitate to spend three florins more,
it does not matter, provided that they are « alia Cosimesca » that is that they resemble
the works of the Magnificent Oosimo. »
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AND HIS WORKS 307
cesco Salviati than of Giovanni da Udine; bathe also was dead
when those dated 1568 were erected. In early life he had les-
sons from the famous Dominican glass painter Marsilla, and there
is painted glass attributed to him, which in its style and idea
of colour strongly resembles the best in the Laurentian. The
designs may have been his, but executed afterwards, like so
many windows in Florence, by the .Gesuati monks. *
The invention of the ornament of the ceiling and therefore of
the pavement and that of the carved seats are attributed to
Michelangelo himself. On what grounds it is difficult to say,
on none certainly of sound criticism.
The ornament in question is neither better nor worse than
that in vogue at the time; it has no special character which
might induce the belief that it was designed by an artist, who
so invariably departed from ordinary and prescribed forms in
all that he did.
Wherever ornament is found, undoubtedly designed by Michel-
angelo, it shows little appreciation on his part of the naturalism
and elegance of that of the early Masters of the Revival. He
preferred to imitate the ancient Roman manner and where
the usual forms are prevalent, as in the architecture of the
Monument of Julius and the ceiling and seats of the Laurentian
Library, it may safely be assumed that beyond prescribing the
general divisions — in the case of the Library indicated by Pope
Clement himself — he left the details to the ornamentists whom
he employed.
1 These windows both in design and colour are admirably salted to Italian Archi-
tecture and offer useful lessons at the present time. Introduced Into a Library where
plenty of light was indispensable, white glass prevails. There Is much yellow stain and
where colour is wanted in some parts, pot metal is introduced but there is not much
of it. The shadows are vigorously painted in enamel brown of a rich tone. Unlike modern
painted glass, the figures and ornament are drawn with all the skill of an educated ar-
tist, and it Is a pleasure to look at them. As windows they perform their function of ad-
mitting light, they harmonize with the architecture, they are graceful in design and the
drawing and execution are calculated to please the most critical eye for form.
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306 MICHELANGELO
In 1526 the two important architectural works which Michel-
angelo had conducted were completed with the exception of the
decoration ordered by the Pope, and may therefore be reviewed
apart from the designs of the decorators.
It has been already observed that the only remaining sketch
for the monument of Julius is not drawn to scale. Other sket-
ches of architectural designs by Michelangelo also exist which
are manifestly drawn by the eye only. In examining the in-
terior of the Laurentian Library, it is felt, that the architectural
details have been drawn in the first place, in the same manner,
rather than in obedience to any rule of practice founded upon
measurement, and that in the working drawings but little advance
towards accuracy had Jbeen made on the sketches, for none of those
well considered, subtle and beautiful geometrical proportions of
parts discoverable in the finest monuments of classic, or of medi-
eval architecture, are present in this design of Michelangelo.
The general appearance of the interior of the library is that
of a temple turned outside in. In all good architecture there
is a harmonious and well balanced combination of the masses,
with appropriate details which in their turn are arranged with
due attention to constructive conditions and use. Supporting
members are characterized by strength, crowning members are
adapted to their positions in relation to structure, those up-
permost for instance give shelter to those below.
In the Laurentian Library the supporting members are weak.
A long series of thin pilasters divide the wall into panels and
carry a cornice of very poor design, in which gutto are intro-
duced, showing no study of the nature of this feature in ancient
examples. The windows are designed as if intended for the ex-
terior of an edifice rather than an interior, with thin architraves
of much simplicity and breadth, but of eccentric forms; they have,
heavy cornices which from their weight and projections give an
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1
MI'ttKVriAX LltJKAHV KLEVATIO>{ OF IXtllRWAV
fl AT I. 11.
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AND HIS WORKS 309
appearance of still greater weakness to the crowning cornice.
Above these windows are panels which can only be likened to
intersole windows, but that they are blanks. They may have
been intended to contain sculpture, but the mouldings are heavy
it may be said clumsy, and again are much fitter for outside
than inside work.
The door of entrance so much praised by the Pope, consists
in the first place of a Doric order, weak in its details to feebleness.
Perhaps there is no poorer specimen of Doric columns to be found
anywhere. These carry a trabeation of the heaviest kind, lite-
rally gigantic in its parts, and surmounted by a curved pediment
of slight design over which is seen the panel, on which no doubt
Michelangelo intended to place the inscription so greatly admired
by the Pope. In front of this doorway there- is a second, formed
of thin stone partitions cutting the columns in half and advanc-
ing into the Library. * These partitions carry another enta-
blature with a triangular pediment, which is inserted into the
tympanum first described. This prodigious doorway is so mas-
sive and so heavy in its parts, that it makes the lightness and
flatness of the rest of the architecture of the Library still more
apparent.
With regard to the details, they also evidently are by an artist
habituated at this time to sketch without measuring and without
considering the relative proportions and uses of the parts. They
are alternately very heavy and very thin and wiry, and as they
are seen by the diffused light of a great number of windows,
they are not assisted by any pleasant effect of chiaroscuro, whilst
their defects are enhanced by the whitewash, with which it is
the specialty of modern Florentine taste to disfigure nearly all
their monuments of architecture. As the stonework is gray ap-
1 The object of this, ia to receive the two leaves of the door when opened.
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310 MICHELANGELO
proaching almost to blackness, the effect upon this of the mas-
ses of nearly snow white with which it is contrasted, may be
imagined.
The architecture of the Laurentian is the beginning of that
style which, borrowing an Italian expression, is termed the Bar-
rocco, of which no doubt Michelangelo was the founder. The
task of building this Library was forced upon him. In vain
he urged «it is not my profession.* It was undertaken with-
out heart for the work , with a modest deprecation of being
thus employed; in estimating its obvious defects these circum-
stances are not to be forgotten.
The Chapel of the Medici is in every respect a much nobler
architectural composition internally than the Laurentian Library.
It is square in plan with an arched recess in, each face, one of
which is prolonged into a chancel and contains a white marble
altar, with candelabra of the same material, designed by Michel-
angelo. The recesses occupy the greater part of each face, but
are comparatively shallow and two of them contain the famous
monuments of Lorenzo and Giuliano de' Medici.
The order selected by Michelangelo for his design is the Co-
rinthian with its rich acanthus -decorated capitals, but every
other part is reduced almost to the simplicity of the Tuscan.
The first order, consisting of piers with pilasters supporting
their entablature, is tall, the second forms an attic also decorated
with Corinthian pilasters of much smaller dimensions, over which
springs the Cupola.
Whatever may be thought of the details the general effect and
proportions are pleasing and harmonious.
On each side of the four arched recesses are marble doorways
with walnut doors, in all eight in number. When shut, as they
all resemble each other, it is impossible to observe which is the
point of ingress or egress; some of them are merely decorative,
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AND HIS WORKS 311
but as a door is not a decoration only, Michelangelo has intro-
duced a false principle, which to this day has been harmful to
architectural design. Above each door is a white marble niche,
which however is designed like the exterior of a handsome
window, and is as unsatisfactory, considered as part of an in-
terior, as the false door beneath it.
Whilst the architecture of the Chapel is broad and massive,
and simplicity is carried to excess, that of the monuments is
small and complicated in the parts, and takes us back in its
general proportions to the design of the preceding century. But
these will be described in detail when their history is com-
plete.
As the Chapel is now seen, it is to be remembered that it is
not finished as Michelangelo designed it to be. The decorations
of Giovanni da Udine will be adverted to under their proper date
when executed. They have however been removed or white-
washed over. The alterations made in many edifices in Flo-
rence, after the great periods of art had passed away, have been
deplorable, and are deeply lamented by the Florentines of the
present day.
An overwhelming flood of bad taste, chiefly ecclesiastical,
swept over Europe and injured hopelessly almost innumerable
works of art. In a city so rich as Florence was and is in such
works, the effects were disastrous in the extreme. All criticism
therefore of this important architectural work of Michelangelo
must be made with reserve, owing to the disfigurement which it
has undergone at the hands of his countrymen. *
The year 1526 closed darkly upon Michelangelo. The action
brought by the heirs of Julius proceeded and destroyed his
peace of mind. In a letter to Fattucci written in November he
deplores his position and the evil disposition of the heirs towards
him, which he admits was not without reason. * They demand »
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312 MICHELANGELO
said he « an amount of damages which would ruin a hundred
such as I am. » « If » says he « the Pope should fail him he
must cease to live, surely he will not permit his ruin and disgrace.
His brain turned when he thought of these things. » l
Thus wrote Michelangelo, and under such circumstances as
these, the nervous and sensitive artist continued his work for the
monuments of the Medici, and produced the statue of Night,
which is, apart from its place on the monument, expressive of the
darkness and suffering which gathered round him and his country,
and he also commenced that other wondrous statue of the Dawn,
the countenance of which is so sad and hopeless.
It is to be lamented that only glimpses are caught of the pro-
gress of these great works and of the artist. His correspondence
presents a blank. In the political events of the time, in the
universal disquiet he ceased to complain. Appeals to the Pope
on private interests, or with reference to the obstacles which
beset him in the pursuit of his art, would indeed have been out
of place, environed as the Pontiff himself was with perils which
threatened his existence.
With the attention concentrated on the history of art and
artists, on the height to which art had risen, and its wonderful
achievements, there may be a tendency to forget the actual state
of the Italian world. It might be supposed that with such
fruits, a high civilization must have existed placing national
life on a similar elevation, and that there must have been a
natural growth of virtue and patriotism and national happiness.
With too few exceptions it was precisely the reverse. Those
who witnessed and admired the works of art and literature of
which the age was so prolific, passed their lives whether public
or private — whether as citizens taking a share in the govern-
1 Buonarroti Archive*, 1st November 1526.
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AND HIS WORKS 313
ment of the State or in domestic pursuits — agitated by furious
passions, or visited by all the miseries caused by civil dissension,
by frequent wars, or by plagues springing from the vices and
follies of governors and governed.
The cities, whose names are so famous, were torn and divided
by. the unscrupulous spirit of party, and these parties made
furious by their hatred of each other — frequently springing
from causes ridiculously inadequate to the disastrous results —
ever in arms to attack or defend, and changing their modes of
government under the guidance of evil passions and the desire
of crushing opponents. Disgraceful policy prevailed in public
and national affairs, whilst there was rarely found in any one,
love of liberty or of patriotism.
If this age regarded from one side only was that of a revival,
and the commencement of a new life in Italy, from the other it
must be regarded as almost unparalleled in its corruption and
debasement.1 Cesare Balbo writing of the period between 1492
and 1559, which was that of the contest between Germany and
France for dominion in Italy, says: « If leaving on one side the
names of the rulers, we turn to that history so often neglected
of the ruled, of the masses, of the humble, who are in fact the
objects of government, if with the aid of the many records left
of that age, we make ourselves acquainted with the communal
and private condition of the Italians, we shall find transmitted
from the governors to the governed, and given back by the latter
such universal immorality, such imbecillity and perfidy, such
vices, idleness, debasement and corruption as appear impossible
in an age of christian enlightenment. » 2
Whilst France and Germany contended for the dominion of
Italy, incredible as it may seem, the Italians ranged themselves
* Aurelio Gotti, Life of Michelangelo.
* Thoughts on the history of Italy. Cesare Balbo, p. 57. -
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314 MICHELANGELO
on the one side or the other, with the enemies of their indepen-
dence, blind to every sentiment of dignity or freedom.
The Republics sacrificed freedom to servitude, that of Florence
sank before the Medici, who, if they assisted to make her famous
in the annals of literature and art, destroyed her liberties.
The siege and sack of Rome, the siege of Florence and the
final ruin of her republican form of government are the two
facts in the history of these two cities, in which are summed up
all the horrors which resulted from the corruption of the Italians,
and were the commencement of a servitude of long duration, from
which they have only lately been freed.
The intelligence of the pillage of Rome reached Florence on
the eleventh of May 1527, an^ the party adverse to the Medici,
rose. Niccol6 Capponi one of the most eminent of the Floren-
tines together with Filippo Strozzi representing the liberal party,
conveyed to the Cardinal of Cortona a resolution of the citizens
convened in public meeting « that Hyppolitus and Alexander
de' Medici should leave the city and consign the fortresses of the
State into the hands of the popular party. » On the eighteenth
of May the Medici with the Cardinal, left Florence with Strozzi
for Pisa, but by mismanagement on his part, did not give up
the fortresses and dexterously escaped from his charge.
After the departure of the Medici, the city was in great con-
fusion from the usual divisions between opposing parties, but the
moderate liberals prevailing, Capponi was appointed Gonfalo-
niere of Justice for a year.
The Republic entered into a league with the king of France,
with England, the Venetians and Ferrara, but the internal affairs
of the city were reduced to a deplorable state by famine and
the breaking out of plague.
In 1528 the more furious of the democratic party were dis-
satisfied with Capponi; but, on the first of July, he was confirmed
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AND HIS WORKS 315
in his office by the great Council of one thousand nine hundred
and ninety- six citizens above twenty -four years of age. A pro-
digious religious fervour in the feverish state of the public mind
had been excited by the preaching of the monks of St Mark in
imitation of Savonarola, and they erected over the principal en-
trance of the Municipal palace that inscription in white marble,
which is there now. YHS Rex Reotm et Domikus Dominak-
tium. Notwithstanding this dedication, plague and famine pre-
vailed, and one of the victims of the former was Buonarroto
Buonarroti the best loved brother of Michelangelo, who fearlessly
and tenderly nursed him during his fatal illness, Buonarroto
dying in his arms on the second of July. It was wonderful
that Michelangelo who never left his brother escaped the fatal
infection.
There is no account of Michelangelo's work during these events
that can be trusted. He was of the liberal party and his com-
missions for Clement were in abeyance. In August this year
the Magistrates assigned him the block of marble which the
Pope had given to Baccio Bandinelli for the group of Hercules
and CacuB, of which Michelangelo was to form another of more
patriotic idea, Sampson slaying a Philistine, for which he pre-
pared a model, now in the museum of South Kensington London.
The following are the terms of the commission which is dated
the twenty-second of August 1528.
« Prefati excelsi domini et Vexillifer simul adunati. Desir-
ing, that of a certain piece of marble now in the office of works,
brought here about three years ago from Carrara, to make the
image of Cacus, to be erected in a public place for the orna-
ment of the city, that a beautiful statue should be made, by an
artist excelling in such work, and knowing the unequalled skill
and science, as well in painting as in sculpture of the remark-
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816 MICHELANGELO
able and unique possessor of these two arts, Michelangelo Buon-
arroti, their beloved citizen, they deliberated on their part, and
haying noted all that their Signories should note that the said
marble, notwithstanding that it was formerly given to another
ought now to be given and conceded, and so by the said reso-
lution is given and conceded to the said Michelangelo Buonar-
roti, who is commissioned to make a figure united with an-
other as may please the said Michelangelo, to be erected in
such a place as this Signory may decide. The said Michel-
angelo ought as may be convenient to him, to commence the said
statue by All Saints and should continue it till it is finished. »
This resolution of the Signory shows not only their confidence
hx the cause of Florence, but also their trust in the final suc-
cess of that cause, it was a noble act at such a time.
In 1529 the more violent party gained the ascendancy and
Capponi being deposed from his office, Francesco Carducci was
elected Gonfaloniere on the seventeenth of April.
In the meanwhile the papal party was not idle, an agreement
was entered into between the Pope and Charles Y for the resto-
ration of the Medici. The Emperor promised to give his natural
daughter Margaret in marriage to Alexander « il Moro. » Under
these circumstances all prospect of accomodation passed away
and the Florentines prepared for their defence.
On the sixth of April 1529 Michelangelo was appointed by
the Council of Nine to the direction of the fortifications, and the
Council of Ten for war confirmed the appointment in the fol-
lowing terms. x« The Signory of Ten for war grant to Michelangelo
Buonarroti, appointed as Director and Provider over the forti-
fications, thirty florins of gold as his payment for twenty days,
commencing from the sixth of the current month, on which day
«
1 Giornmle Storioo degil Arehfrl Toacani.
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AND HIS WORKS 317
it was decided to proceed as follows with a provision of one
golden florin per day, according to the tenour of his conduct. »
Thus Michelangelo by the will of his fellow citizens was sud-
denly transformed into a military engineer. Great indeed must
have been the want of such officials, when an artist could thus
be called from his studio to direct constructions of so peculiar
a nature!
It might be supposed that the arts of attack and defence were
in a very primitive state when such a course was possible, but
at this time there existed in various parts of Italy strong and
scientifically fortified places. Michele San Midhele an architect
towards the close of the preceding century was a celebrated mi-
litary engineer. He was justly held to be the inventor of the
modern system and built various strong places for the Venetian
republic. The bastions of Ferrara were also famous. Profound
therefore must have been the confidence of his fellow citizens in
the skill and resources of Michelangelo, when in their hour of
danger they could confide to him the direction of their much
needed fortifications. What was thought of his operations as a
military engineer is illustrated in an interesting manner by the
remarks of a soldier, whose name is lost, but who wrote a brief
narrative of the siege of Florence.
« At the same time they gave the charge of fortifying the city
to Michelangelo Buonarroti, an excellent sculptor, painter and
not less an architect; and to attract him to and to confirm him
in favour of the popular party, knowing him to be a dependent
of the Medici, they elected him one of the Council of Nine for
the militia, who whether ambitious of honour, or for some other
reason acted with ability and skill. He in the first place gave
himself to the fortification of the hill of San Miniato and San Fran-
cesco, and as it appeared to him to be too great an expense to
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318 MICHELANGELO
follow the design of the bastions, made up there by the Medici
in the years 1526 and 1527 to include Giramonte, he commenced
his bastions at the first tower outside the gate of San Miniato
towards San Giorgio, than which no better fortifications exist
in our country; closing in the hill with admirable celerity by
the hands of peasants under orders, forming the face of the walls
of raw bricks made of pounded earth mixed with the course
portions of flax, and the interior of the wall with fascines. Every
edifice in the line of the walls was taken down, and so the city,
but lately delivered from a terrible pestilence, that of the years
1527 and 1528, prepared itself to meet a great and perilous war.
Some hold it to be an error of Michelangelo, the great number
of flanks and the frequent embrasures, which owing to the nature
of the ground, he had made in his defences ; but if it was an
error, and whichever is the greatest and most dangerous, either
numerous flanks and embrasures, or few flanks' and embrasures
in fortresses, may most easily be explained by those who have
knowledge of such things. But to know on which side or other
should be offensive or defensive works, and what effect is pro-
duced in these by the flanks and embrasures is not the office
of an architect, but of a brave and good practical soldier, who
has not been a mere observer of fortresses, but a defender. If
then he has not these qualities, the error lies in those who did
not associate such men with him. But what can mere merchants
know of war ! which requires practice like all other arts, and the
greater experience, inasmuch as it is so noble and dangerous. » 1
This excellent and soldierlike letter is an interesting testimony
to the great ability and pliable genius of Michelangelo. The
wonder is not, that in some respects and as estimated by a soldier
1 Breve Istorletta dell'Asaedio di Firenze. Codice Magliabechlano, n. 622, class, xxv,
car. 5-6
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AND HIS WOKKS 31?
his defences should have been defective, but that he should have
shown so much observation and acquired so much skill as to be
able to fortify in any way. l
The bastions at San Miniato are still connected with the name
of Michelangelo, but they do not show a trace of his method
of structure as described in this letter. No fragment of those,
running upwards from the gate of San Miniato now exists.
Amongst the archives of the Buonarroti, various records are
preserved which refer to Michelangelo's military operations. The
following is a letter from Niccholaio Dati who in the n&me of
Giovanni Rinuccini presents to him ten workmen. It is dated
the 31st March 1529:
« Magnifice Vir. This will be presented by the master mason
Fabbriano Neretti with six companions also all mastermasons,
all of whom desire to serve your Signory on the walls of your
bastions. They are capable men and will not require to be
watched over, and their work will be such to merit your praise,
and tomorrow others will come making up the number of ten
masters, which your worship requested me to send. On Saturday
I spoke of them to Giovanni Rinuccini your associate, and he
told me to send them this morning to you from him, as the said
Giovanni sent them to me, and I wished to speak to your Signory,
but you did not come to the Palace, for they wish to be placed
in a body altogether so that their work may be seen, would that
it might please God that there were many of this sort.
Therefore I exhort you to show them a good countenance and
to keep them, for their work will merit commendation. I spoke
of them on friday to your Signory on the height, when I gave
you my name that you might have some knowledge of me. I
1 At a subsequent period Vauban made favourable remarks on the fortifications built
by Michelangelo at San Miniato.
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320 MICHELANGELO
have written these few sentences as above by commission of
Giovanni Rinuccini, and also because I wish that this people
should be well served by intelligent men able to do honour to
your Signory, to whom I recommend myself.
May Christ have you in his keeping. »
Yours
Niocholaio Dati. *
Another note is dated 17th June 1529 and is as follows :
« I give notice to your Signory of the assignment of the first
ditch above the road which goes to San Miniato, which is eighty
five braccia long, thirty wide and sixteen deep. We, Giovan
Battista and Lionardo Chiari, mastermasons and companions
undertake to excavate it, and I oblige myself to execute the
square braccio at the cost of three soldi four denari, the running
braccio at thirty-nine livres. » That is, he would take out the
square braccio at three half pence and a fraction, the running
braccio including the width and depth of the fosse at thirty-nine
livres. He adds : « Provided that your Signory supplies the tools
to excavate with, that is six mattocks', eight shovels, two iron
levers and two iron mallets. And the other part, that is the
second ditch, we will execute in the same manner. » 2
Other contracts for the fosses of the new works are preserved,
but all are of similar character.
In the same month of April in which Michelangelo was ap-
pointed to his onerous and honourable charge, that unfortunate
selection of a leader in Malatesta Baglioni was made by the
Council of Ten, which brought such woe upon Florence, and had
1 * Buonarroti Archives.
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AND HIS WORKS 321
so singular an effect upon the fortunes of Michelangelo. He was
not long in discovering that, however upright and patriotic his
intentions, he must encounter opposition, and that he could not
reckon upon the support of the Coifticil which were divided in
opinion, when union was so necessary to the safety of the state.
His friend Capponi especially was opposed to fortifying the heights
of San Miniato, and the contention between them became so
sharp that they ceased to be friends. Oiovanbattista Busini
writing tQ Varchi after a conversation with Michelangelo says:
« It pleases me now to recount to you what was the cause.
Niccol6 (Capponi) whilst Gonfaloniere never wished that the
hill of San Miniato should be fortified: Michelangelo who is a
most truthful man says, that he had much trouble to persuade
the other leaders, but that Capponi, he could never do so. How-
ever he began in the manner which you know with that refuse
of flax, and Niccol6 withdrew him from the work and sent him •
elsewhere; and when he was made of the Council of Nine, they
sent him away two or three times, and every time that he returned
he found the new works dismantled, and he complained loudly
both on account of the office which he held and the injury done
to his reputation.* x
He recommenced the works, so that on the arrival of the enemy
they could be held.
In another letter of the same Busini dated 16th February 1549,
he remarks: « Michelangelo says that neither Niccol6 Capponi
nor Messer Baldassarre wished to fortify the hill of San Miniato,
but having persuaded all except Niccoli that it was well to have
done so, and that it was undesirable to lose a day, the mount
being so near the walls, and having commenced his wa^ls with
1 Busini. Letter to B. Varchi, 13th January 1549. Florence, Le Monnier, p. 103.
n
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322 MICHELANGELO
the pis£ of earth and refuse of flax, which, to confess the truth,
was not perfect and Michelangelo himself acknowledged it, it
occurred to the Ten to send him to Ferrara to see the famous
walls there. » •
Michelangelo had previonsly been sent to Leghorn to advise
about works of fortification for Pisa, to provide defences against
overflows of the Arno, and now he was despatched to Ferrara,
where he was received with great attention and every oppor-
tunity afforded him of studying the bastions. *
Besides his credentials to the Duke, Michelangelo was provided
by the Council with a letter to the Florentine ambassador in
the following terms, interesting as showing the high estimation
in which he was held at the time:
Ferrariae, die xxvm Giulii.
« Domino Galeotto Junio Oratori,
Magnifice Orator ecc. We send to Ferrara our celebrated
Michelagnolo Buonarroti, as you are aware a man of rare endow-
ments, for certain purposes which he will explain to you by word
of mouth. We greatly desire that he should be recognized as
a person highly esteemed by us and cherished as his merits
deserve; and we commit to you that you make known in what
* About this time a gentleman of Bologna addressed Michelangelo through Fra Giovanni
Pietro of Caravaggio a mutual friend, to request that he would design an altar piece which
might be painted by Sebastian del Piombo. Matteo Malvezzi another friend wrote to him
on the same subject.
« The composition according to his desire is to be this : His Signory wishes our Lady
with the child in her arms, and four figures two on either side ; the subjects of these figures
and the attitudes and placements be such as shall please your Signory to make them. The
picture to be semicircular at top, eight feet four inches and a half total height and five feet
three inches and a half wide. A scale of our foot which is twelve inches is Inclosed. The
light is thus, the chapel is to the east and the light is south. > Buonarroti Archives.
This is an interesting practical letter. In July the same Friar wrote pressing the exe-
cution of the design and advising Michelangelo to quit the « noisy tumult of war » and to
retire to Bologna where he would be kindly received in the house of Malvezii or the Mon-
astery of San Martino. This advice came within a few weeks of Michelangelo's actual
retirement from Florence.
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AND HIS WOKKS 323
estimation Michelangelo is held by us, .and that you introduce
him to his Excellency the Duke, and do him all the favours
which are in your power, arranging that he should be shown
all things that it is necessary that he should see or understand,
according to all that he may require, so that he may most con-
veniently execute our commission and may return well instructed
in all that he has need to know. The which, granting for the
benefit of the city, as much as possible we recommend that he
should be satisfied. Bene vale.
Nota, the bearer of this is Michelangelo Buonarroti who is sent
to Ferrara by the nine of the militia, to see the methods of for-
tification adopted by his Excellency the Duke; with whom you
will do him all the favours in your power, as his high qualities
and the interests of the city require, for the advantage of which
he visits Ferrara. » 1
The ambassador wrote to the Signory at Florence informing
them of Michelangelo's arrival, which took place on the second
of August, and lamenting that he would not take up his quarters
with him, which he would have considered a great honour. On
the fourth the ambassador accompanied Michelangelo round the
■city to inspect the walls, and presented him to the Duke who
received him with the greatest courtesy and personally showed
him the bastions, and whatever was of interest to him in the city.
At Florence the works on the fortifications were now pushed
forward actively, as apparently more united councils prevailed.
The return of Michelangelo was anxiously looked for, application
had been made to the Signory that he should inspect the de-
fences of Arezzo, and through the Ambassador at Ferrara he
was pressed to return, the despatch bearing date the eighth of
August.
1 Printed by G*ye. V. n, p. 197.
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324 MICHELANGELO
The history of the events of the next few weeks becomes com-
plicated. The time was approaching when Michelangelo took
the unhappy resolution of abandoning his country and deserting
the post which he held in her service.
It has generally been related that he fled to Venice in the
company of Rinaldo Corsini, il Piloto and Antonio Mini, but
documents lately discovered show that such, was not the case.
He must have returned to his duties in Florence when earnestly
pressed to do so by the Signory, and almost immediately must
have again been despatched, this time to Venice, probably on
a secret mission, and in company with the above mentioned
persons. The following document from the Buonarroti Archives
consisting of a portion of a letter and a note of accounts shows
that he left Florence, went to Venice and staid there some days
and returned before the date of his flight. The document is thus
headed.
In Venice, this tenth of September.
« My honoured superior. l
Ten ducats to Rinaldo Corsini.
Five ducats to Messer Loredano for rent.
Seventeen lire, the breeches of Antonio.
A ducat, his boots.
Twenty soldi, a pair of shoes.
Two stools for sitting on, a dining table and a chest, half a
ducat.
Eight soldi for straw.
Forty soldi, carriage of the bed.
Ten livres to the messenger who came from Florence (Ba-
stiano the mason).
Three ducats from the Bondeno to Venice by boat.
1 This wm probably written towards the close of his rlsit. Beneath are the accounts.
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AND HIS WOBKS 325
Twenty soldi to Piloto, a pair of shoes.
Seven ducats from Florence to Bondeno.
Two shirts, five livres.
A cap and a hat, sixty soldi.
Fourteen days in Venice, twenty livres.
About four ducats for horses for Piloto, from Florence to
Bondeno. » l
By these accounts it appears that Michelangelo had been
fourteen days in Venice previously to the tenth of September.
There are items which are calculated to mislead and but for
the accidental precision of the date, the accounts might have
been held to sustain the usual version of the history of Michel-
angelo's flight. For instance the payment to Bastiano who fol-
lowed him on both occasions, the second time charged with his
safe conduct granted by the Signory.
After the tenth of September, Michelangelo returned from Ve-
nice and resumed his direction of the fortifications. He had
only been engaged thus for a few days when he suddenly
resolved on that secret departure, the cause and consequences
of which have been the subjects of -so much debate. It has been
seen that, in his efforts to serve his country, Michelangelo met
with extraordinary opposition and was subjected to unprecedented
mortifications; in his absences on duty his works were dismantled.
At the time of his departure this had ceased, but he penetrated
the projected treachery of Malatesta and tried in vain to open
the eyes of the G-onfaloniere and the Council.
It was after these attempts upon his part and when he evi-
dently dispaired of the cause to which he attached himself, that
he was'so singularly influenced, and not improbably fell the
victim of a plot to bring about his departure, for he was an
obstacle in the way of the conspirators, who were resolved upon
1 Buonarroti Archives.
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326 MICHELANGELO
the destruction of Florentine liberty. He has himself written
an account of what took place to his attached Mend Battista
Delia Palla.
1 « To my dear friend Battista Delia Palla. Florence.
Battista dearest friend. I departed thence (from Florence)
as I believe that you know to go to France , and I arrived in
Venice.
I inquired as to the state of the roads and was informed that
going by this place, it would be necessary to pass by German
territory and that is both a dangerous and difficult road; there-
fore I have thought of learning from you when it pleases you,
if you are still disposed to go and to pray you, as I thus do, to
give me notice, and where you wish that I should waitt for you,
and we will go together.
I departed without saying a word to any of my friends and
in much confusion; and although I, as you know, desired by
all means to go to France, and had on several occasions asked
leave without obtaining it; it was not however that I was not
resolved, without fear of any kind, to see first the end of the war;
but that on Tuesday morning on the twenty- first of September,
there came one out by the gate of San Niccolo, where I was at
the bastions, and privately told me that if I wished to save my
life I ought not to stay; and he came with me to my house, and
there dined, and then brought me horses, and did not leave me
till he had me out of Florence, showing me that it was for
my good. Or Gtoi or devil, whichever he may have been, I
know not.
1 This important letter is now deposited in the Buonarroti Archives, but it was pur-
chased by the Italian Government, with several other documents for ten thousand francs.
The system of the division of property prevalent in Italy leads to the dispersal of family
Archives and collections. This letter fell to the share of a younger *son was sold, disap-
peared, and has only lately been recovered to throw light on a momentous event in the
history of Michelangelo.
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^BTTBB TO O. »
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1
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AND HIS WORKS 327
I beg that you will reply directly, as quickly as you can, for
I am impatient to be gone ; and if you no longer wist to go, pray
let me know, so that I may adopt the best course to depart
alone. »
Yours
MlCHELAGKIOLO BuONABBOTI.
It is a singular coincidence that on this occasion, as on that of
his flight from Rome in 1506, the dread of assassination weighed
so strongly on the mind of Michelangelo. To such an extent on
the former occasion as to prevent his listening to all overtures
for his return to Rome, and to such an extent this time as to
induce him to leave Florence secretly on the evening of the
21st of September.
By his letter to Battista Delia Palla it is evident that Michel-
angelo fled from Florence alone, after parting with his mysterious
guide. This journey therefore must be separated from that
other journey to Venice in the company of Rinaldo Corsini with
which hitherto, it has been mixed up. His own account of his
motives as subsequently related by him to Busini, are specially
deserving of attention. Varchi narrates in the tenth book of
his « Storie Fiorentine, » that Michelangelo having been inter-
rogated in his name by Giovanbattista Busini answered: « Si-
gnor Mario Orsini had said to him one day in conversation,
that he feared greatly that Malatesta had come to terms with
the Pope, and would prove a traitor. Which thing he, as a
loyal citizen and zealous for the well being of his country, im-
mediately referred to the Signory. The Gonfaloniere Carduccio
in reply took him to task as somewhat suspicious and timid and
attached little importance to his revelation. Whence, he moved
by this fear, or because Rinaldo Corsini did not cease to molest
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328 MICHELANGELO
him, to induce him to fly with him, as the city in a few hours,
not days, would be in the power of the Medici, he had 12000
golden florins sewn into part of his dress, and with the said
Rinaldo and with Antonio Mini his pupil, left Florence, not
without difficulty, although he was one of the Council of Nine
for the army, passing through the gate calla Giustizia, » as likely
to be least suspicious and as being least guarded. »
This statement of Busini, alleged to be on the authority of
Michelangelo, is inconsistent with the letter lately found addres-
sed to Battista Delia Palla.
Nardi after stating that Michelangelo returned to his country
knowing what need it had of him, adds: « Michelangelo and Ri-
naldo Corsini were of one mind, and for fear of the war absented
themselves from Florence, as often happens from human weak-
ness; but repenting they returned. »
This assertion that he departed from fear of the war, that is,
as a coward, may at once be dismissed as inconsistent with his
declaration to Palla and his conduct through life, during which
he faced many dangers without shrinking; whatever the cause,
it was not a base feeling of fear.
Busini gives a clearer account of the cause of this flight of
Michelangelo, in his letter to Varchi of the- 31st January 1549:
c I asked Michelangelo what was the cause of his departure.
He answered, that being one of the Nine, and the Florentine
people being gathered within the walls and Malatesta and Si-
gnor Mario Orsini and other leaders, he then distributed the
soldiers on the fortifications and assigned to each Captain his
place, providing victuals, ammunition and eight pieces of artil-
lery to Malatesta, who was to set a guard over them and to
defend a portion of the bastion del Monte; he placed them (the
guns) outside under the bastions without any guard. Mario did
the contrary with that under his charge. Michelangelo, who as
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AND HIS WOEKS 329
magistrate and engineer superintended that part of the defences
of the Monte, asked Signor Mario how it happened that Mala-
testa kept his artillery unguarded, to which Signor Mario replied
cyou know that he is of a family who have all been traitors and
he also will betray this city. » This caused such apprehension
to Michelangelo, that he felt constrained to depart. »
But before doing so Michelangelo in his place in the Council
denounced the traitor, and pointed to the peril hanging over his
country, and. appealed in vain to her magistrates who were evi-
dently quite unfitted for the posts which they held. With regard
to the discrepancies between the two accounts, that is to say,
that written at the time to Delia P&lla and that related years after-
wards to Busini, the preference must be given to the first.
Michelangelo himself confounded the two journeys to Venice.
Other instances occur of forgetfulness such as this, which might
happen to any one. He had no motive whatever for telling the
tale differently and the second by no means improved his po-
sition.
Some of his obvious motives are altogether omitted in these
statements. He had been for years in intimate relations with
the Medici and employed by them, but he was a republican and
a devoted adherent of the independence of Florence. When he
believed that it was possible again to restore those liberties, he
did not weigh his connection with the Medici with his duty to
his country, nor had he any reason to do so. His forced and
degrading labours for Leo did not merit his gratitude, his
employment by Clement was marked by entire selfishness on
the part of that Pope. Michelangelo's labour was compulsory,
and his contracts with the heirs of Julius which he wished
honourably to fulfil were trampled into the dust. He owed
nothing to Clement. He saw his country by the Papal policy
crushed under the domination of such wretches as Lorenzo and
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330 MICHELANGELO
Giuliano, and threatened with baser servitude to the bastard
Alexander. Therefore he joined the liberators, but only to see
divided councils, folly and treachery, to learn at last that there
was no hope for his country, and that the time was at hand for
her betrayal, when he must fall into the power of those, whom
he had every reason to think could not forgive him for taking
part against them, and he must remain without a friend to defend
him from the power of the Delia Rovere, who had been made
his enemies spite of himself. He asked for his dismission, he
insisted upon it, but in vain; he denounced the traitors, but in
vain, and it was then that he was secretly informed that his
destruction had been resolved upon and that his assassination
was at hand. Under these circumstances, it can hardly be won-
dered at that he gave up the cause of Florence as hopeless.
To die for his country was a duty from which he would not
have shrunk if his death could have saved it; he was a man of
courage and a sincere patriot, and sacrificed every consideration
to his duty as a patriot, but his death would not have delayed
the fate of Florence for one hour, especially his death by as-
sassination, and having vainly protested against the conduct
of affairs, and openly and boldly stated his reasons, he departed
on finding his efforts useless.
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Chapter XIV
| he character and services of Michelangelo being
held in such high esteem and his genius being
so much admired by his fellow-citizens, his
sudden departure caused a great sensation in
E Florence. To his enemies it was a source of
satisfaction, whilst to his friends, who were far more numerous,
it was the cause of consternation and sorrow. By whatever mo-
tives they were influenced, a considerable number of distin-
guished citizens also left Florence at the same time. The act
of Michelangelo was therefore not a solitary instance, although
it is now certain that he was accompanied by no one in his flight.
The Signory at once perceived the necessity of acting with
promptitude and vigour, for its power was impaired by the
protest against its government implied by the departure of im-
portant and well known citizens. On the thirtieth of Septem-
ber all were proclaimed rebels who had abandoned their coun-
try and had not obeyed the summons to return. The following
is the ban which was published:
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332 MICHELANGELO
Florence, 30th day of September 1529.
c Item assembled as above/
Whereas Rainald son of Philip de' Corsini, Pallas son of Ber-
nard de'Oricellari, Matthias son of Simon de'Cini, Bartholomew
son of Philip of Valori, Alexander son of William de'Pazzi, John
son of Laurence de'Tornabuoni, John son of Bardi de'Corsi,
Michelangelo son of Ludovico de' Buonarroti, Peter son of Ala-
man de'Salviati, Jerome Luke son of Maso de'Albizi, Francis
Luke son of Francis de'Albizi, Augustin son of Peter del Nero,
Nicolas son of John de'Orlandini, in contravention of the pro-
hibition and ban of the Lords of Eight, for several days have
gone forth and departed from the State of Florence, to the very
great prejudice and danger of the Republic and of the liberty
of the aforesaid State, and being as usual and by ban warned
to return and come back to the said State, have not returned
and all and each of them having had reason and cause to re-
turn and come back, both for the good, the peace and the quiet
of the said State and liberty: each and every particular being
regarded which in such aforesaid circumstances and about afore-
said matters are to be regarded and taken into consideration,
by the direction of their several authority, power and piagistracy,
observing such things as are to be observed and with due re*
spect to the ordinances, have taken into deliberation, decreed
and declared and in the pains and penalties of banishment have
set down as rebels, those mentioned above and hereinafter writ-
ten down:
(Here follow the same names)
All citizens of Florence, and have declared that against
them and each of them, should have place all the laws and sta-
tutes which tell against rebels to the Community of Florence
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AWD HIS WOBKS 333
with this salvo and reservation, that if the aforesaid and above-
named, or any of them, from this up to the end of the sixth day
of the month of October next, shall by person have appeared
before this office, in such case i who of them shall have appeared
as aforesaid shall be understood to be and shall be quit and free
from the aforesaid ban and sentence, and not otherwise.
Granted etc. Given and declared on the aforesaid day of
the 30th of September as above. »
It certainly appears that Michelangelo and others who acted
in the same manner, misapprehended the temper and disposition
of the majority of the citizens of Florence, who were in the
main patriotic and courageous, although he may have justly
measured the incapacity of some of the leaders and the trea-
chery of others, which made that patriotism and courage una-
vailing.
It is a testimony to the respect with which Michelangelo was
regarded, that the authorities abstained from confiscating his
property, an indulgence which they did not extend to others.
His prudent housekeeper however removed it to a place of safety,
giving at the same time a list of his goods and chattels to his
friend Granacci. A surprising circumstance of his flight was
his personal transport of the heavy weight of three thousand
ducats in gold 1 stitched into parts of one of his garments.
He must have transferred his money from his usual bank and
kept it in the house in anticipation of events; for such was the
rapidity of his movements on that unhappy day, that he could
not have gone to his banker and suddenly drawn a large sum
of money without awakening suspicion.
1 One thousand Ave hundred pounds Stg. The story Is variously told. Varohl says
twelve thousand Florins, Vasarl as many crowns, neither writer stopping to consider the
impossibility of carrying such a weight of Specie. On Michelangelo's own authority the
real sum was three thousand ducats, which must have been a heavy weight to carry.
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334 MICHELANGELO
On reaching Ferrara, the Duke was informed of his arrival,
and immediately sent for him, receiving him with distinguished
courtesy. He conducted Michelangelo through his collection of
pictures, conversing with him of art and of the merits of the
artists, and with a smile added: « You are my prisoner, and
before you leave me, you must give me a promise to do some-
thing for me, either in painting or in sculpture, as you may
prefer. » Michelangelo willingly gave his pledge, and it is said
offered the Duke his inconvenient burden of capital in loan,
an offer which however was not accepted, then bidding his
' Host farewell, he continued his journey to Venice. That he
might escape notice there, he took up his quarters on the Giu-
decca. But one so illustrious and whom Venice had anxiously
desired to enrol amongst her artists, could not long remain
unnoticed and he was soon visited by a body of gentlemen de-
puted on the part of the authorities, who expressed their desire
to treat him with the highest distinction. These attentions Mi-
chelangelo declined, his only object being to await the arrival of
Delia Palla, and thereon to continue his journey to France.
In the meanwhile Michelangelo's friends in Florence exerted
themselves to obtain favourable terms for him and a safe con-
duct to enable him to return. Although his private property
was not interfered with, as a matter of course his salary, as a
public officer, was stopped. An attestation of this is preserved
in the National Record office Florence :
« Declared by me Paul of Catignano, Treasurer of the Signory
of the Eight of Affairs, that as under date of the 17th Septem-
ber 1529, there was appointed by the Magistracy of the Ten to
Michelangelo Buonarroto, employed then as Governor and Pro-
curator of the fortifications of the city of Florence, a salary of
one florin of gold per day. That is, a salary of thirty broad
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AND HIS WOBKS 335
florins for thirty days, beginning on the tenth of August 1529
and ending the tenth of September following : and Michelangelo
having the policy of the said allowance, which allowance it
being necessary again to approve by the Signory's Colleagues of
the Nine and Eight, according to the provision on allowances,
was not approved, the said Michelangelo being absent from Flo-
rence without leave. »
A safe conduct was willingly granted, and the Council of Ten
for War instructed the Florentine Ambassador at Ferrara, Ga-
leotto Giugni, to use his influence to induce Michelangelo to
return. Representations to the same effect were also made by
his friends and were despatched with a copy of the safe conduct
by a special messenger Bastiano di Francesco, a humble but
devoted friend of the fugitive, charged also with a letter written
by Giovanni Delia Palla, who, as appears from Michelangelo's
statements, intended to accompany him to France. He had
however changed his mind and abandoned his project after his
friend's departure, to whom he wrote as follows :
« To you, my most honoured Michelangelo,
Yesterday I sent you a letter of mine with ten others from
friends, and a copy of the safeguard from the Signory, which is
valid for November, as a precaution, although persuaded that
the copy previously sent, must have reached you. I do not
think it necessary to repeat on this occasion the arguments,
which I have before so fully written on two sheets of paper, nor
do I seek to induce friends to reiterate similar ones. All agree
with one consent, and without doubt or hesitation urge, that so
soon as you receive the safe conduct and their letters, you should
return to your country and preserve it and your friends to you,
as well as your honour and employments, and that you may
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386 MICHELANGELO
enjoy and benefit by those days which you have waited and
longed for. Had any one predicted to me that I should have
been able to bear th^inteUjgence that an enemy was close to
the gates of my native city without apprehension, I should have
thought the prediction vain, but now I declare to you that not
only am I without fear, but I am filled with high hopes of a glor-
ious victory, and of such exaltation, that if some days hence,
for some reason to us inscrutable, or for our sins, God in His
judgment should not deliver this enemy into our hands, I should
feel that sorrow which is experienced, not when we are disap-
pointed of a hoped for benefit, but when we lose one already
possessed, so entirely, filled with high hopes have I realized
our certain victory.
Then looking forward for my country, I foresee in the disci-
pline of the army, its future enduring safety and glory. I see
permanent fortifications take the place of those of a temporary
nature; the most difficult preliminary steps having been now
taken by clearing the ground all round the city, for the country's
safety not sparing even monasteries and churches. I see on the
part, of the citizens indifference to their losses and to the plea-
sures derived from their villas, and the prevalence of an admir-
able union and ardour for the preservation of liberty. No fear,
but of God only, with confidence in Him and in the justice of
their cause. I see innumerable other benefits, and a promise
of renovation at least within.... x and a golden age, which I, and
other of your friends, trust that you will enjoy.
Therefore again with earnest heart, and with as much as
in me lies, I pray that you, whenever you receive this, will
come, and take the way by Lucca, where inspired by the in-
tense desire which I feel, that your country should not lose you,
nor you your country, I have resolved to meet you, to bear you
1 Obliterated in the original.
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AND HIS WORKS 337
company in pleasant companionship, and to do all that is needful
for you, till you are again here. If, when you arrive in Lucca,
by some accident which in the mean time may have happened,
you do not find me, and it does not appear to you well to come
on, till I am with you bearing the safe conduct, be pleased to
write a line to me, when I will instantly join you; being certain
that leave will not be wanting to me to do so.
This proposal has occurred to me, since I wrote to you, if not
for greater safety, at least for your better satisfaction. Good I
wish you in no stinted measure, and you may see how I feel
for your interests, when I can leave this city even for a day
during the war, which is owing to my.... l for love of you it will
seem light. God preserve you in his goodness, and bring you
back to your country safe and happy. »
From Florence this xxmj day of October. *
Entirely yours
Battista Della Palla.
Michelangelo set out for Florence, but his journey was delayed
by obstacles on the road. The country was infested with troops
of the enemy and by robber partizans, consequently he did not
arrive in time to meet his friend at Lucca, who not being in-
formed of the difficulties which he encountered, wrote to him
again an earnest letter:
« Dearest friend.
After the xxi, kept till the xxn for the mason, I wrote to you
by post on the zxnii, by which letter, besides having confirmed *
the previous one, I promised you to be ready, for your satisfac-
1 Obliterated in the original.
' Buonarroti Archives.
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338 MICHELANGELO
tion and security, to come here to accompany you to Florence,
whenever you should call upon me to do so. On the xi of this
month, I came here, so as to free your mind from any ap-
prehension of the road, and I have remained either in Pisa or
This place till this mornings But as you have not appeared,
and as I have no news of you, and my l?ave of absence has
nearly expired, I turn homewards, and I write this with my
boots on and my foot in the stirrup. As I cannot persuade myself
that you will not come, I inform you by this, in case you have
not started, that the goods of those in your company, who are
contumacious are already being sofd, and if you do not come
within the time fixed, that is within this month, as by the safe-
conduct, the same thing will happen to your property without
remedy. But if you come, as I firmly believe that you will, give
notice to my honoured Messer Filippo Calandrini, to whom I
have given a memorandum of my plan for conducting you in
safety, so as to save you from thinking of it.
God preserve you from evil, and let us see you soon in your
country, for her good cause victorious. »
* Lucca, the xvnn day of November 1529.
« Remember me to Bruciolo, to whom I shall write from Flo-
rence with news of those of his house, who at my departure were
excellently well. » *
To the much honoured Michelagnolo
Buonarroti JSimoni. In Venice, in
the house of Bartolomeo Panda-
tichi.
Michelangelo reached Florence between the twentieth and the
twenty-third of November. On the last of these dates the Si-
1 Buonarroti Archives.
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And his works 339
gnory altered the ban under which he was attached, to exclusion
from the Council for three years, with permission however to
petition for restitution each year.
No sooner had he returned than he resumed his post on the
fortifications of the city. His biographers with their frequent
exaggeration of events of trifling importance and omission of
those of real interest, describe the damage done to the enemy by
guns placed on the belfry of the church of San Miniato, and
the effects of their return -fire, as well as Michelangelo's defence
of the tower by surrounding it with bales of wool. This belfry,
which still exists, measures eight feet square within the walls.
If cannon were mounted in it they must have been mere pop-
guns; nor does it appear possible that they could have been
worked within so limited a space. The walls are very solid and
on the summit there is a terrace which is provided with a low pa-
rapet on the cornice, of about twenty feet on a side, but the roof
is within it, and there is no space for guns. The wool packs
are described as an invention of Michelangelo. But they were
frequently used in sieges and afforded an effectual resistance to
, artillery fire. They were extensively employed in the siege of
Florence, the walls being in a very imperfect condition.
It is related that the enemy kept up so hot a fire that they
seriously damaged the tower. Some chance shots have broken
away portions of its angles but the church is quite uninjured.
It is not the least likely that the artillerymen of those days,
fired with such accuracy that they could confine their attentions
exclusively to the belfry. It is more probable that a battery
was formed close to it on the commanding height which it oc-
cupies, and this may have been called the belfry battery, and
that the fire from the belfry itself was limited to small arms.
On Michelangelo's return he found that the spirit of the Flo-
rentines together with their patriotism and courage were admir-
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340 MICHELANGELO
able, and as he witnessed their conduct and the energy of the
defence, it may be surmised that he deeply regretted that he
should have despaired of the Republic, because he distrusted the
capacity or honesty of some of the leaders.
A despatch to the Venetian government by its envoy Carlo
Capello is an eloquent tribute to the behaviour of the be-
sieged.
v It is dated the twenty-ninth of October and was therefore written
nearly a month before Michelangelo's return:
« Although this is the first time that this city has heard the
sound of artillery near its walls, there is no one who does not
show constancy, bravery and resolution to defend them. By the
industry of the defenders they have been strengthened by one
thousand eight hundred bales of wool, so as to have little to
fear from the attacks of the enemy, which has more reason to
apprehend defeat than to hope for victory. Besides eight thousand
paid regular infantry in the city there are five thousand militia,
composed of inhabitants between eighteen and fifty years of age,
who neither spare themselves nor avoid fatigue by day or night
whether on guard in the city on the walls or the bastions, doing
duty with the troops, working at repairs or cutting fascines in
their own farms outside the walls, making this sacrifice so as
not to fail in their duty of defending the city. Of a truth they
cannot be too much praised.
Nor is less diligence shown in endeavouring to obtain the Di-
vine favour by acts of worship, by fasting, by communion, by
processions in which all take part, including even the militia.
A thing marvellous in these times, to hear of and to witness the
use of arms united with the fear of God.
Within the city there is no disturbance or disorder. Money
is abundant, and lately the palace and estate, where the. Prince
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AND HIS WOEKS 341
(of Orange) lives at present, was sold with other property by
order of the Signory, and the money was found a«r if it had been
a time of peace. » *
The despatch of the Venetian Ambassador presents a noble
picture of the struggle of a great and intelligent people for
freedom.
During the progress of the siege glimpses are obtained of
Michelangelo, engaged on the repair of the defences or otherwise
discharging his military duties. With other Officers he ascended
to the summit of the cupola of the Cathedral to observe the
operations of the enemy on the twenty-second of February 1529.
The Priors permitted this for once only. * Possibly they dreaded
drawing the fire of the enemy on the noble edifice under their
charge if they permitted it to be made a post of observation, nor
was their conduct unpatriotic. The tower of the Palace of the
Signory is nearly as tall, and at that time there were hundreds
of lofty towers within the city suitable for such a purpose.
The Imperialists as they gathered round Florence took Lastra
and Signa about six miles below it, and thus prevented the
conveyance of supplies by the Arno. The city was completely
invested in January 1530, and on the nineteenth of that month
Hercules D' Este having failed to appear, Malatesta Baglioni
was unhappily made Commander in chief.
The Florentines lost no opportunity of annoying the enemy,
and performed daring feats of arms which, being isolated, pro-
duced no permanent results to their advantage. Religious en-
thusiasm was also increased by the preaching of two Dominican
* Albert. Relasionl degll Ambasclatorl Veneziani. Florence, 1839, Series 2d, v. i, p. 238.
* An 1529 a' 22 di febbralo «Servatla servandls etc., deliberayerunt ex eorum aucto-
rltate, quod Michellangelns de Baonarrotls, cWis florentinus et arehltector, ana com duobos
sortie, possit ire in Cupola ad eios libitum, impune, et pro una vice tantom. > « La Cq.
pola di Santo Maria del Flore » by Oesare Guastl. Florence 1857 p. 130.
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342 MICHELANGELO
friars Benedetto da Fojano and Zaccaria da Fivizzano, who took
the popular part and opposed the pretensions of the Medici.
The enemy was not inactive on his side. Besides cutting off
supplies, he made direct attacks. The Prince of Orange as-
saulted the bastion of St George on the highest point of the
walls, but was defeated with heavy loss. Had he been successful,
the city could no longer have been defended. The Florentines
in their turn compelled the unwilling and treacherous Malatesta
to make a sortie, which, owing to their courage was successful,
when he suddenly ordered a retreat.
Whilst the Florentines were thus occupied with their defence,
war pervaded the entire Tuscan territory. The brave officer
Francesco Ferruccio who was in their service, subdued Vol-
terra which had rebelled against the Republic, but Empoli was
lost on the twenty -ninth of May by the treachery of his lieu-
tenant Andrea Giugni.
The city of Florence was now nearly reduced to extremity
by famine, and Malatesta negociated secretly with the enemy,
whilst the citizens determined to destroy their families, to set
fire to their dwellings and to perish rather than yield.
There was in this desperate position of affairs but one ray of
hope. Ferruccio was ordered to attempt a diversion, and he
marched upon Pisa with three thousand infantry and five hun-
dred cavalry where suddenly prostrated by illness, he was una-
ble for some time to move; hardly had he recovered, when he
entered the mountain recesses above Pistoja with his troops.
The Prince of Orange detached so large a force from his be-
sieging army to meet Ferruccio, as to leave only four thousand
men before Florence, whom Malatesta, ever faithless to duty,
omitted to attack although urged to do so. He had secretly
arranged with Orange not to take the offensive if he forwarded
troops to attack Ferruccio.
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As the brave and loyal Ferruccio with the forlorn hope of the
Florentines entered the mountain town of San Marcello which
he took by assault; he was met by the Imperialists under Orange
who had arrived at G-avignano on the other side. In the combat
which ensued Orange was killed, Ferruccio taken prisoner, and
the Florentine troops over matched, were disastrously defeated.
Their brave leader was led unarmed into the presence of Fabrizio
Maramaldo a Calabrese serving the Imperialists, who ordered
him to be put to death. With Ferruccio died the last hope of
the Florentine Republic.
The mercantile community of Florence in the days of its
freedom and prosperity, had not prepared for the exigencies of
possible war. When its liberties were threatened from within
by citizens of its own, and conspirators like the Medici were
punished as they so well deserved by expulsion, they sought
foreign aid to replace them and brought frightful calamities on
their ill prepared country. It is obvious from the letter of Delia
Palla to Michelangelo that Florentine opinion had at last awa-
kened to the necessity of maintaining a regular army, if the
liberty of the republic was to be preserved. The results of the
absence of all military preparation are observable in singular
and disadvantageous forms. An artist was called from his stu-
dio to fortify the city. The high post of commander in chief
was conferred upon a partizan leader of notoriously unsafe cha-
racter, and the safety of the Republic came to depend upon the
conduct and bravery of one officer only, so that, when Fer-
- ruccio was ill at Pisa, there was no commander who- could take
his place. The Republic was so weak in reality, that she lost
by force or treachery Pietrasanta, Motrone, Pistoja, Empoli,
Prato and Volterra, the last city being retaken by Ferruccio.
Both Delia Palla and the Venetian Ambassador testify to the
patriotism and heroic courage of the Florentines, and to the
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344 MICHELANGELO
number of combatants assembled within the walls, partly militia
partly hired troops, yet Florence fell before her enemies, although
eight thousand citizens and fourteen thousand soldiers were sa-
crificed. Bravery and endurance, unsurpassed in history, did
not suffice to save the Republic in the absence of military pre-
paration and organization, whilst trust in hireling leaders proved
fatal.
Malatesta's treacherous and cowardly refusal to attack the
camp of the besiegers after the departure of so large a portion
of them to meet Ferruccio, dijove the Signory to decided action.
They deprived him of his command, but he stabbed the official
who brought him their order and turned the guns of the Roman
gate upon the city. Divided councils, and the declaration of
partizans in favour of the Medici necessitated submission; and
terms were made on the twelfth of August with Ferrante Gon-
zaga now Commander of the Imperial forces, and Baccio Valori
Commissioner of the Pope. It was agreed that the future form
of government should be determined by the Emperor, it being
however understood that liberty should be preserved.
A general amnesty was declared and Florence opened her
gates. Terrible was its state and that of its citizens, impoveri-
shed by the war, many reduced to a state of misery, all filled
with grief and mortification and scourged by the plague, which
broke out with renewed force after the capitulation, finding new
victims amongst the imperialists.
The Medici were restored on the ruin of the liberties of their
country, they disregarded the conditions of surrender and per-
secution and bloodshed commenced. Michelangelo was diligently
sought for, and had he been taken in those first days of vindic-
tive triumph, this great light would have been quenched, but
he found a secret and safe asylum in a friend's house. Amongst
the accusations brought against him it was said that he had
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AND HIS WORKS 345
proposed to tevel with the ground that palace of the Medici in
which he had been so hospitably entertained, and that he had
proposed to call its vacant site «the place of mules! »l
With the lapse of time, better feelings assumed their ascen-
dancy. Pope Clement called to remembrance his noble qualities,
as well as the works which he alone was competent to finish.
He had complained of and blamed Michelangelo's adherance to
the national party, but he now caused a report to be spread
that he would pardon the great artist. The report was soOn
conveyed to Michelangelo and he must have been convinced of
it? good faith for he returned to his studio and resumed his
work.
However occupied by his novel military duties, excited by
their responsible nature, or by his mixture with politicians;
however agitated by his hopes for his country or his dread of
the power of her enemies; whilst engaged in combats in an arena
so new to his experience, discussing with or persuading his col-
leagues, and at the same time as appears even by the little that
remains of his correspondence, transacting a great amount of
business; still he found time for the exercise of his art.
This industry of Michelangelo during the progress of the siege,
this devotion of a part of his time to the fulfilment of his en-
gagements and the practice of his profession, manifest upon his
part, a self possession and calmness of spirit entirely inconsistent
with the idea that fear induced, him to leave Florence. He passed
from the walls and from combat, from his duty of watching
the enemy, of repairing the defences where injured, from his
functions as a statesman and councillor, to the quiet of his study
where he was engaged in painting his picture of Leda.
Michelangelo is said to have executed this work in tempera,
a singular circumstance when it is remembered how well he
1 Varolii. V. u, p. 899.
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346 MICHELANGELO
could paint in oil, and that there is no process mo^e ill adapted
for representing the nude than tempera painting, as may be seen
by innumerable specimens of the Tuscan School. At this time
also (1529) the art may be said to have disappeared, oil paint-
ing haying entirely taken its place. '
The picture was executed in fulfilment of the pledge given
to the Duke of Ferrara, who sent an agent to claim it. He is
described as an ignorant and pitiful fellow, but it is unlikely
that the Duke would have selected such a one.
When he saw the picture he was surprised, as well he might
be, by the selection of the subject and the gross manner in which
it is represented. He asked with surprise, if that was the picture
for his master, and hot words passed between him and the artist.
The story, meant to be to his discredit, does him honour. The
irritated Michelangelo told him to leave his presence.
Vasari then goes on to relate that at the request of his pupil
Antonio Mini, who had two sisters to bestow in marriage and
needed dowries, Michelangelo presented him with the picture as
well as with various Cartoons for other sketches and models.
The great artist was perfectly aware of the value of his produc-
tions, and that he should have acted in this reckless way is
not to be believed, being wholly inconsistent with his character
for good sense.
Michelangelo did not, it may well be supposed, throw away
his works, like a mere spendthrift, under the influence of mo-
mentary agitation. Having refused the picture, certainly un-
reasonably, to his courteous friend the Duke of Ferrara, it is
probable that he sought another purchaser. This view of the
case is supported by documents in the Buonarroti Archives
which rather point to Mini as a shareholder by purchase, and
to an advance of money made on the picture by another Flo-
rentine.
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AND HIS WORKS 347
A certain Francesco Tedaldi wrote from Lyons to Michel-
angelo on the eleventh of February 1532 informing him, that
Antonio Mini and Benedetto del Bene had arrived there and
expected the picture of Leda to follow :
« They await the Leda and so soon as it arrives they will go
to court: to which place I am not going, but I shall write to
friends, and I shall give them letters of favour and recommen-
dation, so that nothing will be wanting to them. They have
begun a Leda which turns out very beautiful; and this Bene-
detto has a refined spirit: I am of the mind that they will make
her beautiful, if it please God.
This was a copy by Benedetto del Bene and the tone of mind
of the time is illustrated by the concluding pious phrase in al-
lusion to a duplication of a picture, which was so offensive. It is
made evident by this letter, that the object of Mini in visiting
France, was to sell the picture to the King, and it would hardly
have been written to Michelangelo had he not been interested
in the transaction. It is to be presumed that the copy was made
with his consent, as it is so frankly alluded to.
The second document is very prolix. It is dated Lyons the
first of July and was written for the information of his heirs
by Tedaldi.
It states that Antonio Mini in August 1532 conveyed to
Paris the two pictures of Leda and deposited them in the house
of Giuliano Buonaccorsi, and that the writer Tedaldi was owner
of one half share of the original picture by Michelangelo, for
which he had paid a sum equivalent to about seventy pounds Stg, *
and further that he had expended besides a sum exceeding one
hundred and fifty pounds Stg. * Mini having left the pictures
' One hundred and forty ducata.
* Two hundred and ten ducate.
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348 MICHELANGELO
for a year with Buonaccorso, claimed them, when the latter
denied that he had received them from him bat that they had
been deposited in his house by Messer Luigi Alamanni by de-
sire of the king. The result of this nefarious attempt on the
part of Buonaccorsi was an appeal to the law with affidavits on
both sides. Tedaldi interfered in his turn being pecuniarily in-
terested, and obtained from Luigi Alamanni a written statement
that he had not deposited the pictures with Buonaccorso. It
does not exactly appear how the original by Michelangelo passed
into the hands of the King. The last lines of the record are:
c And let him note who may make use of this record, that this
Leda was not worth less than one thousand ducats, for here
in Lyons we could obtain upon its security five hundred ducats
from Leonardo Spina and five hundred from Tommasino Gua-
dagni. The said Buonaccorsi must show what commission he
had from Mini as to the said Leda, and how Messer Luigi
Alamanni took it or caused it to be taken to his house at the
desire of the King: which he cannot do; as we have letters of
his to the contrary, also how the king had demanded it of him
or caused it to be taken by absolute power. Many persons say
that he made a gift of it to the King and had a great recom-
pense: one Secretary says that it is worth two thousand ducats,
others that it is worth much more.*1
It appears that Buonaccorsi so completely succeeded in cir-
cumventing Miqi, that he disposed of the picture to the King,
and it is to be presumed received its value. Tedaldi who had
purchased a half share in it from Michelangelo and undertaken
part of the cost of its transport to the court of France, having lost
his venture by the weakness or folly of Mini the other shareholder,
brought a claim against his heirs or left it to his own to do so.
1 Buonarroti Archives.
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AND HIS WORKS 349
The picture of Leda was preserved at Fontainebleau till the
reign of Louis XIII when Des Noyers superintendent of the
Royal palaces, — from it is said conscientious scruples, — caused
it to be burnt ; others say that he injured it, and that it was re-
stored as best could be, and was taken to England. 1
Besides painting the Leda during the time of the siege Va-
sari says that Michelangelo « secretly worked at the sepulchres
of the Medici, » but Condivi alleges that he returned to them
after the city was taken, under the influence of fear, again
fear ! this oft repeated word of his biographers, who either at-
tached no sense of shame to it, or slandered their hero. Con-
divi adds that he worked rapidly which was the more remark-
able «that for fifteen years he had not touched a chisel. » The
extravagance or utter carelessness of this statement goes far to
destroy the importance of the other, that he only returned to
his work on the sepulchres after the fall of the city, were it not
that an examination of Vasari's counter evidence, cannot fail to
show its worthlessness. Vasari is not ashamed to publish the
slanderous report that Michelangelo whilst serving the Republic
in offices of high trust, and doing all that lay in his power to
promote her defence and to defeat the Medici « secretly worked »
at the monuments of two of the most odious of these tyrants.
He could not fail to know that if the republican parly was
successful, as she honestly hoped that it would be, the monu-
ments of the Medici never would be erected. The assertion that
he « secretly worked » is so depreciatory of his character for
. honour and consistency, that it amounts to a worse accusation
than, that he fled from Florence from fear of the approaching
siege. There is this further consideration that whilst he is thus
1 In June 1853 the Journal « La Presse » announced that a certain M. J. Bataas had
discovered a copy or rather reproduction of this famous Leda. The beauty of which In-
duced it to be believed that It was painted under the direction of Michelangelo. This
picture may well be the copy by Del Bene described by Tedaldl as so beautiful.
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350 MICHELANGELO
represented as « secretly working* for the enemy of the Republic
which he was apparently serving with so much patriotic feeling
and such entire devotion. A block of marble originally des-
tined for his workmanship, had been given by Pope Clement
to Bandinelli as Michelangelo was too busy to undertake it.
Bandinelli having deserted Florence preferring the papal service
to the claims of his country, the great block, as has been already
mentioned, was publicly assigned to Michelangelo by the Signory
on the twenty-second of August 1528, and his choice of a subject
full of patriotic feeling, Sampson the deliverer- smiting a Philis-
tine, was the open avowal of his sentiments and the public em-
ployment of his art.
In the sight of all men he made a model for the proposed group.
If it be alleged that he felt an irresistable desire to return to
his chisel, the opportunity of doing so in the face of day was
provided. It may certainly be assumed, that if the employment
of his time in the service of his country and other causes easily
imagined, prevented him commencing the group of Sampson
and the Philistine, he never touched the monuments of the Me-
dici, and the first part of Condivi's assertion that he only did
so when the siege was over may therefore be considered trust-
worthy.
On the restoration of the Medici, the block of marble was
again given over to Bandinelli who shaped it into that hideous
Hercules overcoming the robber Cacus, which ever since has
disfigured the Piazza of the Signory. Baccio Bandinelli's hatred
of Michelangelo, and insane belief that he was his equal in
ability, have been sufficiently described in many pages. His
works in Florence have made his name familiar by their vul-
garity and obtrusiveness, and his pretentious rivalry of Mi-
chelangelo has served as an advertisement of an artist whose
proper fate was obscurity. He is popularly, but probably very
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AND HIS WOEKS 351
unfairly associated, with a robbery of Michelangelo's studio,
thus described in a record supposed to have been written by
Antonio Mini:
« Three months before the siege, Michelangelo's work shop in
Via Mozza, was broken into with chisels, and about fifty draw-
ings of figures, and amongst these the designs of the sepulchres
of the Medici and many designs of great value, and four models
in wax were taken away. And the young men left behind them
inadvertently an iron, which was inscribed with yi M. and this
it was that betrayed them. So soon as they were discovered,
they escaped or hid themselves, and sent to say that they would
return the designs and models and asked forgiveness. » 1
It is asserted that the chisel marked with the letter M. be-
longed to Michelangelo the father of Baccio Bandinelli;but that
is no proof that Baccio therefore took part in this robbery, per-
petrated in all probability by working sculptors from different
work shops, amongst whom there may have been one from the
establishment of the elder Bandinelli.
From the same collection of documents we learn, that com-
missions were pressed upon Michelangelo, which, occupied as he
then was, he was unable to accept. They serve to show the
high estimation in which he was held and the wide spread de-
sire existing to possess works by his hands or even sketches
to be executed by other artists.
A Bolognese gentleman entreated that he would make a de-
sign for a picture, apparently for a Church, to be coloured by
Sebastian del Piombo, and availed himself of the services of
Fra Giovan Pietro da Caravaggio, Prior of St Martins in Bo-
' Buonarroti Archives.
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352 MICHELANGELO
logna. A certain Matteo Malvezzi also wrote to him. The
letter is without signature, but is interesting as showing the
combination of courtesy and good sense with which commissions
were offered:
« The idea of the gentleman is this. His Signory wishes a
picture of our Lady with the child in her arms and four figures,
two on each side of our Lady; the which figures to be selected
by your Signory as appears best to you as well as the attitudes
and positions f f the figures. The picture is to be semicircular
at the top, its height eight feet four inches and its width five feet
three and a half inches according to our measure, which is
drawn in this sheet, that is to say a foot of twelve inches. The
light in the Chapel is thus, it stands east and west and the light
will be south. »
Michelangelo being otherwise occupied was unable to execute
this commission, which there is reason to believe was offered
when he was engaged with the defence of Florence.
Before the memorable seige, Ludovico Buonarroti de Simoni
was sent in 1529 as Podesti to Castelfranco, but the weak old
man deserted his post on the approach towards Florence of the
Imperial army and went to Pisa. After the surrender of Flo-
rence wishing to return to Florence he wrote to his sons. The
correspondence is of little interest, but Leonardo the son of Buon-
arroto and the nephew and heir of Michelangelo, to whom he
subsequently wrote many letters and whom he provided for, ap-
pears for the first time.
Gismondo wrote to his father that when the roads were safe
he would come for him, thus apparently notwithstanding the dis-
turbed state of the country, there were means of correspondence-
The letter thus concludes:
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AND HIS WORKS 353
« We are all well; for which we may thank God, having been
in so many troubles and being so still. Thank God that you
were not and are not here, for we are still in great want of
bread, which there is not; however cheese, dried meat and oxen
have begun to come in.... There are some cases of plague;
however we hope things will go well. Rest in peace and when
it is time to come for you, we shall not fail. » 1
As Gismondo delayed, Lodovico wrote to Michelangelo: «Some
time since I wrote, to Gismondo: from whom you must have
heard of my residence here ; it has been too long ; whether it be
from the departure of the pure soul of Buonarroto, or whether
from my desire to return, or because Nardo every day suffers
more from living here, having become unhealthy and unhappy,
I fear for him. Gismondo said he would come to my help
so soon as the roads were secure, but he has not, and I have
no news: my impatience and annoyance increase, and he being
Castellan of Verruca, I do not know the cause.*2 He then goes
on to say that he would set out, and, no doubt, did so and ife-
turned to Florence, where his son Michelangelo was busily en-
gaged with his work in San Lorenzo.
At this time he undertook one work in addition to those in
progress for Pope Clement, a statue rather under life size for
JBaccio Valori, whose friendship he wished to conciliate. The
subject selected was a youthful Apollo drawing an arrow from ^
his quiver, but the statue was not finished, for Michelangelo
found even this, in addition to his other work, too much for
him, in the state of health in which he was after the siege.
It shows his method of working, every part of it being carried
equally so far that his next process would have been to complete
* * Buonarroti Archives.
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354
MICHELANGELO
it, still the details of the forms are merely indicated, but they
show, in a wonderful way, the freedom and certainty of his touch
and how plastic marble was in his hands.
Artists of genius convey to the mind suggestions of beautiful
form and variety of expression, by a few lines or touches with
the point on canvas or paper, or with the modelling tool in
pliable clay or wax, the materials lending themselves to rapid
manipulation whilst inspiration^ lasts, and such sketches by
master hands have an indefinable, but exquisite charm. That
the hard marble which must have been returned to again and
again for many days, before this Apollo was shaped, should be
entirely free from any appearance of labour, and should present
the same evidence of facility. confidence and power, in the sure
and rapid expression of thought, is very wonderful, and makes
this unfinished statue very precious in its present condition.
REX REGUM
ET DONUNUS DOMINANTIUM
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Chapter XV
aving seen the hopelessness of the Florentine
cause, Michelangelo submitted to the inevitable.
His name is associated for ever with the glo-
rious defence which was made of the liberties
I of his country, and the eagerness with which
he was sought for by her enemies is a tribute to the value, of
his services at that momentous and unhappy time.
Pope Clement having treated him with favour, Michelangelo
•considered himself exclusively in his service and made no ad-
vances, and offered no respect to the vicious and paltry Alex-
ander the Moor, who was made Duke of Florence. He avoided
him even when his services were asked for, refusing to take
any part in the proposed erection of a fortress, not so much
meant to defend as to dominate Florence, and he consequently
incurred the Duke's dislike; but his employment by Clement
shielded him and he pursued his work in the Sacristy of San Lo-
renzo in safety. It has been seen in the course of his history
how at times Michelangelo vanished from observation. When
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356 MICHELANGELO
the doors of the Sixtine closed upon him and he pursued his
work silently and industriously, his biographers filled the gap
with inventions based on idle gossip, and it is only from his
letters preserved by his descendants, or by the careful exami-
nation of his works that we learn how he was occupied and
what were his thoughts.
When at work at Florence living near his family he had no
motive for writing those familiar letters to its members which
throw so much light at other times upon his occupations. He
had important reasons for avoiding observation amongst which,
owing to the part which he had lately taken, was the enmity
of the ruler of Florence and of his partizans whom he had op-
posed. In his biographies there has been little trace of him
in 1531, but now it is otherwise. It was a busy eventful year.
In it he carried to its completion that beautiful statue of the
« Dawn » which rests on the tomb of Lorenzo. The statue of
« Night » with its woful meaning, might have afforded him more
congenial employment, but that grand creation was already
finished.
When Michelangelo again resumed his work on the monu-
ments, he continued it without serious interruption till the death
of Clement. A .brief retrospect of dates may be useful at this
period of their history. The order for the commencement of the
new Sacristy, or Chapel of the Medici, as it is now called, was
issued by Leo X in March 1520, that it might contain « the
sepulchres of Giuiiano, his brother, and of the Duke Lorenzo, his
nephew, both dead; it was also said that Messer Julio, Arch-
bishop of Florence and Cardinal, desired it to be made for him-
self also. » l
It has been seen that, as the walls arose, Michelangelo carried
on the architectural back-grounds of the monuments, and other
1 Buonarroti Archives.
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AND HIS WORKS 357
decorative parts of the interior, which are of Carrara marble, all,
according to the opinion of an expert, from the quarry of the
Polvaccio. That at the same time he was making progress with
the statues, is shown by the following documents. In 1524 on
the nineteenth of October he acknowledged to have « received
four hundred ducats on account of his salary at fifty ducats a
month, » 1 for the execution of the Statues for « the sepulchres in
the new Sacristy of San Lorenzo. » It appears therefore that
he commenced the statues of the tombs of the Medici in Fe-
bruary 1524.
On the twenty -fourth of October 1525 Michelangelo thus
wrote to Messer Giovanni Fattucci: « In reply to your last,
the four figures blocked out are not yet finished and there is a
great deal to do to them. The four others to represent rivers
have not been begun because there is no marble. » Another
interesting letter also preserved in the Buonarroti Archives gives
a detailed account of the progress of the works.
Florence, April 1526.
« Messer Giovanni Francesco. Next week I shall have the
figures which are blocked out in the Sacristy covered up, as I
mean to leave it free to the marble cutters to build up the other
monument opposite that already built, and whilst they are build-
ing, the dome may be made. I think that with a great number
of workmen, it may be done in three months, but I have no ex-
perience.
After next week our Lord may at his convenience send Mas-
ter Giovanni da Udine, if he thinks it right for I shall be ready.
Within this week, four columns * have been built up, one
having been so previously. They will delay somewhat the ta-
1 Buonarroti Archives.
9 The Corinthian columns within the Chapel.
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358 MICHELANGELO
bernacles, but I think that they will be finished in four months
from to day. The scaffold would be begun at once but the
Linden wood is not yet seasoned, it will be hastened as much
as possible.
I work as hard as I can and in fifteen days I shall begin the
other Captain, then there will only remain of consequence the
four rivers. The four figures on the Sarcophagi, the four figures
on the ground which are rivers, the two Captains l and our Lady
for the sepulchre at the head of the Chapel, are those which I
wish to do with my own hands, and of these I have begun six,
and I have courage to execute them within a reasonable time,
and to have the others done in part which are of less import-
ance. »
Thus then Michelangelo's work in the Medici Chapel was
considerably advanced in 1526. The tabernacle of one monu-
ment was complete, the other about to be begun, the marbles
having been wrought. He was about to build his first cupola
and acknowledges that practically he wanted experience. It was
however his first lesson in domical construction and no doubt the
experience gained was turned to account when in his turn be
became Architect of St Peters.
Why Giovanni da Udine was summoned is not clear, unless
it was that he might have an opportunity of studying the edi-
fice which he was to decorate.
Other casual notices indicate that he continued his work, till
in 1527, Florence declared for liberty and the Medici fled.
In November 1530 he resumed his work upon these statues and
continued it, till the death of Clement in 1534. But this is to
1 Lorenso and Gluliano. A fine sketch in clay of the figure of a rlyer is in the pos-
session of the Cav. Santarelll Sculptor and is thought to -be one of the studies prepared
by Michelangelo.
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AND HIS WORKS 369
anticipate. Whilst so occupied, unfortunately the old questions
and accusations regarding the Monument of Julius were revived.
Complaints of his nonfulfilment of his contract were renewed at
Rome by the Duke of Urbino, and of this Michelangelo was soon
informed, the intelligence producing as usual great excitement
of mind, so much so, that early in January he was bent upon
leaving his work and going to Rome to meet his accusers face
to face.
A special provision had been made by the Pope for his ready
and convenient access to the Vatican without entering Rome,
and a room was kept for him. But after all he did not set out,
but remained in Florence.
The Pope showed himself to be very desirous of composing
the differences between Michelangelo and the Duke of Urbino,
and in his absence conferred with Sebastian del Piombo on the
means of attaining this object. The letters from Michelangelo
in reply to those of Sebastian do not exist, but the latter show
what was their nature, as well as what Pope Clement did to
assist and soothe the great artist, knowing that he could not
work, when alarmed or irritated. The following letter is expres-
sive of the Pope's sentiments, and is dated Rome 29th April 1531,
when apparently Michelangelo still entertained the wish to go
there:
« My dearest friend. It does not follow from what Menichella *
said to me that you should suspect any one, or that you should
take the road to Rome on account of wrongs done to you : a
letter to your friend (the Pope) will be enough, you will see
what the fruit of it will be, for I know how much he reckons
upon you. I believe that if you will make a statue in your
1 Domenico da Terranova called Menichella an Indifferent painter, whom Michelangelo
assisted with designs, and whose absurdities afforded him great amusement.
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360 MICHELANGELO
own manner and by your ofrn hand, you could not do a better
thing for your own advantage; for he loves you, knows you,
and adores your works, appreciating them as much as any one
ever did; a source of great happiness to an artist. He speaks
of you in the most honourable terms, and with such regard that
a father could not say more of a son, than he says of you.
True it is that at one time he was grieved by some idle reports,
which reached his ears during the siege of Florence; he shrugged
his shoulders and said: « Michelangiolo was wrong. I never did
him an injury. » Therefore, my dear frieAl, learn to know him,
and take things the right way, and be of good cheer, for he is
aware of the labour which you undergo for him, and that you
work even at night, so that he is highly pleased: however he
would be still more pleased if he knew that you were happy,
and that your mind was at peace, and that you had the same
loye for him, that he has for you.
Pardon me, my dear friend, if I speak too frankly; the love
which I have for you, prompts me to say what I say.
I wish that by some other means, than by painting and sculp-
ture alone, you would show that you are his servant, and so you
would cut the ground from under the feet of your enemies; and
thus you would play an independent part.
Now, one favour I would ask of you; that you should estimate
yourself rightly and do not be roused to anger by every trifle,
and remember that the eagle does not deign to notice the fly ;
enough if you smile at my garrulity. I do not mind it, for so
nature made me, and I am not a Zuan da Rezzo. » x
This letter shows at once the strength and the weakness of
Michelangelo. It is not quite apparent what Sebastian means,
when he says: « if you will make a statue in your own manner
1 Buonarroti Archives.
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AND HIS WORKS 361
and by your own ha^cU in as much, as this was precisely what
he was then doing, working «even at night. » The allusion to
Clement's view of Michelangelo's conduct in siding against the
Medici is very significant ; an attempt to make that a mere per-
sonal question, which in reality stood on much higher ground,
and further on, the effort to persuade him to adopt a course of
conduct, which would mark him a partizan of the papal party,
show how entirely Michelangelo separated the two questions of
his employment as an artist and the independence of his poli-
tical opinions. The letter also indicates that the persecution
from which he suffered, was partly or rather in a great measure
political. He returned to his work on the tombs of the Medici,
but he avoided any act inconsistent with the part which he had
taken in favour of republican liberty.
The soothing tone of the letter the « fooling him to the top of
his bent » shows his undignified irritability and what was thought
of it by friends and contemporaries.
Sebastian del Piombo had occasion to visit Pesaro, and there
he met Girolamo Genga, a painter of repute, who lived with the
Duke of Urbino. From him Sebastian learnt that the question
of the monument of Julius might be amicably settled and the
Duke satisfied, and that he was prepared to provide the eight
thousand ducats needful for completing it. This was a step in
advance, for hitherto the Duke and his friends were apparently
persuaded that Michelangelo had been paid the entire sum of
the cost, which was an entire misapprehension on their part.
Sebastian immediately wrote to inform Michelangelo, who
addressed the Pope, but again in a tone of complaint in his
unhappily too frequent style. This letter he desired Sebastian
to put into the Pope's hands, with another referring to the monu-
ment also for the consideration of His Holiness. By Sebastian's
reply the nature of these letters may be surmised:
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362 MICHELANGELO
# 16th June 1531.
« My Dear Friend,
I have received yours in reply to mine, with a letter inclosed,
directed to our Lord; which I placed in his hands, and he re-
ceived it with pleasure: and moreover he wished to see that,
which you had written to me. He wonders greatly, and is very
sorry that you give any weight to the idle talk of those, who,
when at a loss for subjects to amuse His Holiness, talk about Mi-
chelangelo and his affairs and pretend to have a knowledge of
art, but utter such nonsense, as would iflake stones laugh. But
God be thanked, His Holiness knows them so well, that he seems
to hear them with my ears; and values them precisely as we do:
and I firmly believe that you could not find in the whole world
a man so entirely your friend as His Holiness.... l He was sur-
prised, when he read your letter in my presence, that the statues
which you mention, are finished,8 and he said that never was
there such a worker as you are when you choose; very different
from the idle talk of enemies. Then he called me on one side
and told me to write to you that you should take the work
easily, doing what you can, but not so as to affect your health,
or to bring some illness upon you. That you should go out
and take the air sometimes, and many other such words showing
how he loves you....
With regard to the monument of Julius, our Lord has read
my letter, and has again read the headings of the contract which
I gave you from the Duke of Urbino, and he desires that I should
tell you that he has spoken of this affair. I told His Holiness
everything, and besought him to favour and assist you and so
to give you back twenty -five years of life. He answered me
1 Followed by more in the same tone.
1 The Figures of Night and Dawn.
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AND HIS WOBKS • 363
kindly that he would do it willingly; and told me that I should
write nothing to the Duke without first understanding your
wishes, as to how you would settle this affair; and alfeo to make
it known to His Holiness, so that he may judge what to offer
on your part to the agents or to the ambassador of the Duke of
Urbino. » x
Sebastian then goes on in his prolix way to express his hope
of the good effects of the Pope's interference, assuring Michel-
angelo that nothing will be done without his consent. He also
describes the miserable state of his house in Rome and the bad
conduct of his agent « who is wasting the property, which it will
take many ducats to repair. » In his next letter to Michelangelo,
Sebastian details the progress of his negotiations with the agents
of the Duke of Urbino:
Borne, 22d July 1531.
« Dearest Friend. Do not be surprised that I have not re-
plied more promptly to your last letter which I received at the
end of last month, by which you instruct me in what I have to do
and propose to the agents of the Duke of Urbino. Not to disobey
the command of our Lord I showed him your letter, which he
read carefully, and so understood what you desire. He was
surprised that you should so unreservedly offer two thousand
ducats, and the house in which to finish the work of the monu-
ment of Julius, in the term of three years; it is too great an
offer and two disadvantageous to you. I believe that it would
grieve you much to see three thousand ducats 9 pass out of your
possession. My friend, by order of the Pope I inform you that
His Holiness is not satisfied with this offer, and he does not wish
1 Buonarroti Archives.
* Including the value of the house.
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364 MICHELANGELO
me to propose so much at first; but has commissioned me to
speak to the Ambassador of the Duke and to Messer Hieronimo
Ostacoli as proceeding from myself in consequence of the state-
ments of Hieronimo da Zenga, and that I should see what they
have to say, when I could refer their answer to you. I have
done so. I went to the Ambassadors and by chance found there
Hieronimo Ostacoli, and as from myself narrated every thing;
and said every thing to them which I thought beneficial. And
I pointed out the alternatives, whether to execute all the work
or to diminish it, nor did I offer a farthing; towards it, I found
the Ambassador disposed to be well satisfied and favourable:
and as to him we may do what we wish with him. But I found
Messer Hieronimo Ostacoli rather bold and, he said, « I know much
better than you do what Michelangelo wants. » And he said to
me: Michelangelo wants to sell the house, and having the money,
then to reduce the work and finish it in his own way ; which is
not honest. He has had ten thousand ducats ; he began with
these and it was seen that the work went on: and towards the
end, now that the work approaches its termination, that the
house will be sold for this purpose will be seen. And he added
that the house was not yours, that it belonged to the Cardinal
Aginensis, and many other disagreeable words.
He also said to me that he had gone to law with you and
that he had the contract for the work. The Ambassador said
to me: Michelangelo is in disgrace with the Pope, and does not
enjoy his accustomed favour; therefore he has fears of this matter.
I answered him boldly that you feared neither Popes, nor
Emperors nor Princes in the world; but that all that you desired
was to act for your honour, and your duty to the sacred me-
mory of Julius. With these words I pacified both. In conclusion
I said to them that it would be more for their satisfaction and
that of his Excellency the Duke, if they would agree to your
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AND HIS WORKS 365
wishes, and do that which seemed to you in .one way or another
the best to finish the work, rather than to stand upon pane- .
tilios.
And should it unhappily occur, which God forbid, that you
died, the work would not be finished either the one way or the
other; for it does not rain Michelangelos, neither could men be
found to understand it far less to finish it. And besides I did
not know in what manner the statues whether finished or only
blocked out could be taken from Florence without you. These
words struck home, and they confessed that what I said was
true and more in their favour than yours. And they deliberated
how to persuade the Duke to do what you wished, especially
the Ambassador: and he told me not to regard the words of
Messer Hieronimo, for he will so act with the Duke and also
with Messer Hieronimo that they will accept what you wish, so
did I persuade him with my statements.
I said to them that there were two statues worth at least
ten thousand ducats, and they would do well to pray heaven that
you would be favourable.
Consequently Messer Hieronimo is gone to Urbino, and has
promised me to do his good offices, and the Ambassador has done
as much by letter.
I have related all these conversations to our Lord ; and he is
highly pleased, and has told me not to fear Messer Hieronimo,
for he will do what he wishes. His Holiness added that for
your own sake keep to your great work, and that you may be
secure in your position say that the statues which you have
finished and which are in progress are worth all the money which
you have received. They wilt then understand that they must
disburse for the rest of the work and you will not be called
upon even to put in the house.... Advise me what to do and
write such a letter as I can show to the Ambassador and which
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366 MICHELANGELO
may be sent on to the Duke; write with boldness and confidence
however, that if made secure of what is due to you, you would
finish the work.
My friend I find the Pope every day more anxious to do yon
pleasure, he wishes you so well, and he is as desirous to see
you satisfied, as you can be to see it ended. He tells me that
it is not necessary to say either to the Duke or his agents that
you make the drawings and models, and that you direct it; they
will be only too well satisfied. You have already done too much
with your own hands, they may be pleased. This is the point,
how can they be otherwise than satisfied? They cannot oppose
themselves to your wishes and you have the Pope on your side.
Pardon me if I cannot explain every thing to you with the pen,
but feel assured that I tell you the truth and that every thing
has happened as related.
Pardon me that I have not sent you the portrait of the Pope:
I have done it from one painted from the life. And the Pope
wishes me to do another like that on stone. So soon as it is
copied I will send it.... « the usual good wishes and in conclu-
sion, I pray you, advise me again about the affair of the house;
is it yours or does it belong to the heirs of the Cardinal, and
also how much money have you received and what was to be
the cost of the whole work? for I do not know how to reply on
these heads either to them or to the Pope. »
Always yours
Sebastiano be Luciahis
Painter.
Addressed.- Domino Michelangelo de
Bonarotis.
In Firenze l
1 Buonarroti Archives.
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AND HIS WORKS 367
Sebastian paints as well with the pen as with the pencil and
we are brought into intimate contact with the actors in the scenes
which he so vividly describes. It would only weaken the effect
of his letter to dwell upon the motives and objects of the different
interlocutors. They need no commentary, they are so clearly
set forth ; but in reading the remarks of the agents of the Duke
of Urbino, it is impossible not to be struck by their injustice,
whilst it is difficult in the face of the history of the case to
understand how they could be made. It could not have been
already forgotten, that whenever Michelangelo was permitted to
do so, he worked with his whole mind at the monument pro-
ducing some of his finest statues. Undoubtedly several of these
were sacrificed by the interposition and high handed acts of
the Popes. That was not the fault of Michelangelo. The real
claims of the Delia Rovere were against the Popes, but it was
easier to persecute the artist than to appeal to the justice of the
papacy and so Michelangelo was made to suffer. He unadvis-
edly and weakly admitted a debt on his part to the heirs,
whereas if the history of his transactions be calmly contemplated
from the commencement of his work for Pope Julius, the heirs
of that Pontiff were largely his debtors. Unhappily it appears
that there were defects in the legal evidence of the indebtedness
of Julius and although there can be no moral doubt of it, the
Delia Rovere evidently did not acknowledge the debt.
His health broke down under the pressure of hard work in
the Sacristy and of his vexations. It was soon seen that after
the events of the siege and the disappointment of his hopes
for his country, on resuming his labour, he became thin and
down cast, so that his friends felt apprehensive and Giovanni
Battista Mini wrote to Bartolomeo Valori on the twenty-ninth
of September 1531 that Michelangelo had finished the second
of the female figures the Dawn « in the Sacristy of San Lo-
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368 ^MICHELANGELO
renzo, which in* every way surpassed that of the Night in
beauty. > He then mentioned that « Michelangelo had fallen off
in flesh, the other day with Buggiardini and Antonio Mini we
had a private talk about him, and we came to the conclusion
that he will not live long if things are not remedied. He works
very hard, eats little and that bad, sleeps none and for a month
past his sight has been weak and he has pains in the head and
vertigo, and in fine his head is affected and so is his heart, but
there is a cure for each as he is healthy. » x
The proposed remedies were that he should no longer work
in the Sacristy in winter where « he would work and kill him-
self » the air being damp and cold, and as to the heart what
was really wanted was to arrange the questions between him
and the Duke of Urbino who molested him without cessation.
It presented itself to the mind of Clement, as a remedy for this
last cause of illness to try the effects of a mild exercise of spi-
ritual authority. He therefore issued a brief on the twenty-first
November 1531 in which he commanded Michelangelo under
pain of excommunication, latae sententiae, to do no work either
as a painter or a sculptor except for the monuments of the Me-
dici already commissioned. Having by this means outflanked
the Duke of Urbino, the Pope trusted that Michelangelo would
recover his health and that the brief would be made use of by
him as an excuse for declining commissions which were offered
him. It appears that the Artist's friend Benvenuto della Volpaia
suggested to Clement that something must be done to protect
him from commissions, if he was to get on with the work in
hand:
« His Holiness was provoked when he heard that you were
besieged to execute so many other works and he said: «Let
' Gaye. V. u, p. 229.
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AND HIS WORKS 369
him stick a brush between his toes and make four marks and
say there is a picture, and as to that other for Bartolomeo Va-
lori l leave it to me; » and he told me that he had sent you a brief
ordering you to undertake no work except for His Holiness under
pain of excommunication, and he asked me if this would suffice
to you for an excuse. In truth he shows in his conversations
that he shares in your vexations. When I explained to him
that working in that chapel would be your death, he answered
me and said: « that you should no longer work there: » as one
who thought that you had another place or workshop : and I
said to him that you have need of a large place away from the *
noise of people, assigning for that many reasons : when he asked
me if the refectory of San Lorenzo would do then I answered
him as coming from myself that the best would be at Sta Ca-
terina. »
26th November 1681. *
Besides this description of the strange use to which so for-
midable a spiritual weapon of the Church could be applied, the
letter is otherwise interesting. It shows that Michelangelo although
advanced in years was still unable to accept a variety of com-
missions, not having surrounded himself with a body of trained
pupils upon whom he could rely.
For any work of serious importance requiring ability of a
high order, he was still under the necessity of engaging artists
as assistants who were not in the usual sense of the word his
pupils. His inability to complete the statue of Apollo which
he had voluntarily undertaken from a desire to conciliate Bar-
tolomeo Valori, and which was so far advanced, seems strange.
The Pope to whom Valori was devoted, promised to interfere*
1 The statue of Apollo, now in the National Museum! Florence.
1 The Buonarroti Archives.
24
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370 MICHELANGELO
The real reason of Michelangelo's unwillingness may be surmised,
if it cannot be asserted. Valori was one of those thorough going
partizans who at this time united himself to the Medici and
others to crush out the last remains of Florentine liberty. This
is quite sufficient to account for the unfinished state of that
beautiful sketch as it may now be called.
Michelangelo's complaints of overwork at this time show also
that he was ill in health. His commissions were not so numerous
as to require so formidable an exercise of spiritual authority to
diminish their number. He was at the time working alone in
the Sacristy, occupied with the statues of the monuments and
superintending the progress of the Laurentian Library in which
excellent artists were employed.
It appears by a letter from the Cardinal Salviati existing in
the Buonarroti Archives, that Michelangelo undertook to paint
a picture for his Eminence. But it was not executed.
In December the Cardinal Cybo wrote from Carrara to re-
quest Michelangelo to design a monument for him, to cost from
one thousand eight hundred to two thousand ducats. The Car-
dinal said that he would be satisfied if he would make the design,
« when he would apply to one or other of his pupils to execute
it as perfectly as possible. » This was a very moderate demand.
Michelangelo designed with facility and made his drawings with
incomparable rapidity, yet this commission so easily complied
with in one sense was not executed, and the most probable reason
was, that there were no such pupils as the Cardinal imagined.
Vasari speaking of his assistants says: « He loved his assistants
and associated with them : as with Iacopo Sansovino, il Rosso,
il Pontormo, Daniel da Volterra, and Giorgio Vasari the Aretine,
towards whom he showed much affection and directed his attention
to the study of architecture, intending some day to make use of
his services.
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AND HIS WORKS 371
Those who say that he would not give instruction are mis-
taken, because he gave it willingly to his intimates and to whom-
soever asked for advice. With those who lived in the house
with him he was unfortunate. Piero Urbano of Pistoja trained
by him, had ability, but was idle; Antonio Mini was willing
but wanted brains; Ascanio della Ripa Fransone, (that is Con-
divi the biographer) worked hard, but no fruit resulted. » The
first four artists mentioned were in no accurate sense of the word
pupils of Michelangelo, Vasari himself was only a short time
in his study. They can hardly be spoken of as assistants either.
hy the remarks upon those who lived with him, it is obvious
that he could not trust to them, to work apart from his directions
and very little with them. Thus any organized plan of work
to be carried on by Pupils was surrounded by insuperable diffi-
culties. Michelangelo could only contemplate much personal work
in accepting commissions, and if he required important assistance,
he applied to established artists of reputation, not his pupils to
render it; and it has been already seen how frequently this plan
failed.
The practice however of combined work between Master and
pupils was so customary that the suggestion of the Cardinal Cybo
was perfectly natural, and in all probability the Delia Kovere
thought of the subject in the same way and were therefore unable
to understand why, notwithstanding Michelangelo's employment
by the Popes, their commission was apparently neglected. Mi-
chelangelo himself undoubtedly intended to carry it out by the
employment of a large staff of assistants. But he» did not or
could not do so. Even when it was in his power and when left
to himself during the first years of the reign of Leo, he did not
employ sculptors to push on the work, but only skilful marble
cutters of architecture and ornament, whilst he carried on the
statues almost unaided. It must have been that he could not
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372 MICHELANGELO
work in association with artists of capacity, or they, however
capable, could not realise his ideas. This was the case in the
Sixtine, and in sculpture he was so far above all sculptors of
the time, that the same difficulty presented itself and was equally
insuperable.
The negotiations regarding the monument of Julius, were of
long duration. Fresh difficulties were made by both sides, but
the Pope and Sebastian del Piombo were unwearied in their
efforts to compose differences. Michelangelo on his part was
thus far unreasonable that he not only shrank from taking any
part in the work with his own hands, but he was even unwilling
to accept the responsibility of giving orders. He wished only
to make the designs and models and to pay the artists employed,
so far as the balance in his hands would permit. It appears
that notwithstanding the opinion of Clement and of Sebastian
del Piombo he admitted that he held a balance due to the work.
Sebastian wrote to him on the fifth of December that his projects
were inadmissable. That the agents of the Duke required that
he should proceed with the monument and that he should watch
over others and then finish their work. In the same letter he
adds: « Our Lord is of opinion that it would be of advantage
if you would come here, that so matters might be more easily
settled. » *
Michelangelo replied that he would proceed to Rome, to which
assurance Sebastian answered: « You will do more in half an
hour, than we can in a year ; and I believe that with a few words
you may settle with His Holiness; for he wishes to satisfy you.
Tour coming depends upon yourself and ought to be within a
month or a month and a half; for within that time will be received
the decision of the Duke and his power of Attorney. * *
1 * Buonarroti Archive*.
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AND HIS WORKS 373
This power arrived on the fifteenth of December and had the
Ambassador remained in Rome, Michelangelo would have gone
there, but he was obliged to depart for Pesaro leaving the further
conduct of the affair in the hands of Ostacoli, whereon Michel-
angelo was advised not to come in the absence of the Ambas-
sador who had shown himself so favourably disposed towards
him., Thus the negotiations were again arrested, and it was not
till April of the following year 1532, that Michelangelo received
a full explanation from Sebastian :
5th April 1532.
« Very dear Friend. Hieronimo Scelario (Rucellai) has arrived
and told me of your well being, and that you only await a letter
from me to set out for Rome. I wrote you a letter some days
since, I believe in the week before Holy week, in which I related
every thing to you and told you that the Ambassador of Urbino
had returned to Rome. But from what Hieronimo says, I per-
ceive that you have not received it. Therefore I repeat to you,
that the Ambassador has said to me, that he must write to you
and he awaits you with desire, and he also said to me: « provided
Michelangelo will calculate what he has done in Florence on
account of the monument and send it to Rome, we will do all
that he wishes. » My friend, let not this alarm you; for it rests
with yourself to state what you please. However knowing what
your wishes are I had not courage to explain them to him, for
I do not doubt that if they knew what your ideas are, such a
blaze would be lighted and such things would be put into their
heads, which they do not now think of, that it would be almost
impossible to remove them: and even without this, I am aware
how they boast. In which case seeing the discrepancies between
you, your visit here would be useless, and I believe, that you
would return to Florence in a worse state than you are now.
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374 MICHELANGELO
But if you would adhere to what I have written to you, you may
by words and by promises to make designs and models, satisfy
them for that, which so long since they advanced to you.
You will gain your wishes and they will destroy the contract
and you will get out of this sad business; and besides remember
that you have a Pope who is not only well disposed to you,
but is also personally attached to you. Whilst you now have
fortune thus propitious, learn to value it, remembering that
perhaps we might have another Pope who would take quite a
different view and might be as favourable to the opposite party
as this one is adverse. You may say, if the Pope chooses, he
may set me free entirely; I answer you that for many reasons
he cannot honourably do so, as you know better than I, and
whoever says the contrary to you is not your well wisher and
does not understand. It grieves me that I cannot with my pen
express all that I have to say, if I could argue with you for half
an hour, perhaps you would see it in another light. However,
my friend, it appears to me, that to get out of so much slavery
and so much sorrow and danger, it will be to your advantage
to give them all those stones and figures which are for this work,
and cause them to be finished by another and so come out of this
difficulty as well as you can; for now you have lawful cause
for refusing such work, inasmuch as the Pope has decided that
you work for him alone. With that shield you may arrange
with them as you choose, and they will be content. As the
weather changes so may they also change, and you might wish
to do things which perhaps would not please them. Your honour
and glory will not rest in these figures, which have been done,
nor in this work only: all the world will know that it has not
been finished by your hand, and there will be no responsibility,
happen what may, you are too well known, your light is as
the sun's.
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AND HIS WORKS 875
Think who you are and that no one makes war against you
but yourself. And being aware of this, is it possible that with
your prudence and capacity you cannot remedy this affair, which
is so easy in one way if so difficult in another? I dare say that
you laugh at my letters, and I think that I see you doing so ;
but I, on the other hand, lose my patience and doubt everything
when I think how that with a few words of yours, you might
obtain your wish and come out of so painful a position.
The end of it all is this ; if you will put into their places the
figures which are done as well as the square work, come, you
will be the happiest man in the world and you yourself will be
satisfied that they are in their places, otherwise if you will not
consent to this, I counsel you no further, you will awaken many
things that are sleeping.
Hieronimo (Rucellai) has told me that if you will come, give
him notice, and he will go and bring you from Florence and
accompany you to Rome, and will again return with you to
Florence. This idea pleases me greatly, and I advise you to
accept the offer; it will both be a convenience to you and you
will be happy in such good company. Do not hesitate to make
him come for you. I will say no more. Christ have you in His
holy keeping. Next week I will send you the portrait of the
Pope. I have finished it, it only needs to be varnished. »
This 5th day of April 1582 in Rome.
Yours Ever
Sjebastiano Dk Lucianis
Piombatore. '
This graphic letter shows how difficult it was to deal with
Michelangelo. His suspiciousness, and it may be allowed want
of calm judgment, were causes of infinite trouble to himself and
to his friends.
1 Buonarroti Archives.
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376 fflCHELANGHELO.
Michelangelo had left Florence to go to Rome, when Sebastian
wrote to him on the sixth of April, to hasten him. When he
arrived, he showed himself sincerely desirous of accomodation
and was by this time persuaded either by his own reflections or
by the representations of his friends, that he must give way on
the question of personal work and superintendence.
On the other side the Duke had instructed his Ambassador
to meet Michelangelo in a favourable way, and to avoid dis-
pleasing the Pope.
Thus all former contracts were on this occasion annulled, and
it was agreed to prepare a new one, which was confirmed on the
twenty-ninth of April 1532 in the presence of His Holiness, of
the Most Reverend Gonzaga Mantoa, Giovanni Monte, Dame
Felice (Delia Rovere a natural daughter of Julius II) and the
Procurators of the Duke of Urbino, Giovan Maria Delia Porta
and Girolamo Staccoli d'Urbino.
In this new convention it was stated in the first place, that
the price agreed upon for the monument was ten thousand
ducats, afterwards increased to sixteen thousand, of which sum
Michelangelo acknowledged to have received eight thousand;
but the work not being yet finished and it being no longer
intended to finish it in the manner previously established, the
Procurators absolved Michelangelo -from indebtedness in respect
of the eight thousand ducats, he binding himself to make a new
design and model of the monument, in which there were to be
six statues of marble already commenced, which were to be
completed in three years, reckoning from the month of Au-
gust next.
On the day that this new contract was to be signed, the twenty-
ninth of April 1532, Michelangelo left Rome by the instructions
of the Pope to resume his work at Florence. This appears to
have been an unfortunate circumstance. Michelangelo must
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AND HIS WORKS 377
have been hurried, for he afterwards stated that the contract
contained affirmations which were not true. The Ambassador
however wrote next day to the Duke of Urbino in excellent
spirits, that God be praised, the contract was at last signed.
« I have promised to Michelangelo, who has shown the utmost
respect for your Highness, to send to you any design which he
may be pleased to make. Amongst the other conditions which
I have imposed, he is held to execute six of the principal statues
with his own hands ; these alone will be of a world's value as
they will be incomparable. The rest he may have done by
whom he pleases, provided that they are done under his orders.
And our Lord is satisfied that he should come twice a year to
work, and to see what the other artists are doing for two months
each time, and they are to be finished in three years, and placed
where it shall be determined and all at his cost. As it cannot
be erected in St Peters, according to all appearances it can be
placed in San Pietro in Vincula, as a place appropriate to the
family, and from which Sixtus also took his title, besides it is
the church built by Julius, and where he placed the Friars
who are there....
At the church of the Popolo it would be well placed as in a
more frequented place, but Michelangelo says that there is neither
room nor light. » *
It cannot but excite surprise that Michelangelo should have
consented to the terms of this document. He knew from long
and hard experience that in the service of the Popes his time
was not his own. It is true that at least three of the statues
were nearly complete and others were at least blocked out, but
even under these circumstances Michelangelo could not hope to
execute the work agreed upon, unless he intended, as suggested
by Sebastian Del Piombo, to make much use of the labours of
' Archives of the Stete Florence, Papers of the Duke of Urbino, n. clxi.
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378 MICHELANGELO
assistants. It may certainly be calculated that at his usual
rate of work, it would take him three years to execute the three
statues by his own hands in the manner agreed to, whereas he
was only to visit Rome at intervals in each year.
Apart from such considerations as these, strange to say, the
important document signed with such formalities, in such a pre-
sence, after such negotiations, was vitiated by a false and tricky
statement. Who was responsible for this cannot now be exactly
known, Michelangelo suspected the Ambassador, for at a later
period he wrote thus of it: c I say that the said contract of
which I afterwards had a copy was not that read in the presence
of Pope Clement, and the reason of this was, that that day Cle-
ment sent me to Florence, and Gianmaria da Modena (The
Umbrian Ambassador) was with the notary and made him extend
it after his fashion ; so that when I returned and I referred to
it, I found entered more than a thousand ducats of the balance
against me.... I swear that I do not know that I ever received
the money specified in that contract. » 1
Michelangelo after leaving Rome in April by the Pope's desire
to attend to the works in San Lorenzo, did not immediately pre-
pare a sketch of the new plan of the monument of Julius, whilst
on the other hand the Duke of Urbino, notwithstanding the fire*
quent demands of the Pope, did not ratify the contract till June.
It appears that in the mean time with the full consent of the
Pope, and that he might fulfil the obligation of the contract,
Michelangelo made effective arrangements in Florence for com-
pleting his work there.
It is probable that an engagement between him and Fra Gio-
vanni da Montorsolo, which is described by Vasari, is referable
to this very period.
1 Letter of MieheUagelo published by Clampi.
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AND HIS WORKS 379
« Clement, having resolved that Michelangelo should return to
Florence to finish the works of the Sacristy and Library of
San Lorenzo, gave him orders for as many statues as were re-,
quired, and that he should avail himself of the services of the
ablest men who could be found, and especially of the Friar.
Michelangelo and the Friar having proceeded to Florence, the
former made great use of the latter in executing the statues of
Lorenzo and Giuliano, for smoothing and polishing and under
cutting, by which means the Friar learnt many things from that
divine man, observing him attentively whilst he worked. »x
The world renowned statues of II Pensiero and Giuliano were
therefore now nearly completed, for the work of Montorsolo
in polishing shows that such was the case. Those of Night and
Dawn it has been seen were also as far completed as they now
are. But those of Day and Twilight, not being noticed, were pro-
bably only blocked out.
Michelangelo's personal position in Florence was by no means
secure. He incurred, as has been already remarked, the personal
dislike of Duke Alexander by resolutely declining to take any
part in designing a fortress intended to dominate Florence. An-
other step which he took was well calculated to increase this
disfavour.
It has been said that he advanced a sum of money on loan
to the Republic to assist in maintaining the liberties of Florence,
but writing from Rome to Sebastian Del Piombo on the twenty -
sixth of June 1531, he concludes a letter on the frequently re-
current subject of the monument of Julius with the following
statement, which shows that the loan, if he refers to the same
transaction, was by no means a voluntary one.
« I do not particularly describe my state for it is needless,
only this I wish to say to you, the three thousand ducats which
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380 MICHELANGELO
I carried with me to Venice in gold and silver coin became
fifty by the time that I returned to Florence, and the Commune
also took from me about one thousand five hundred.* 1
From this letter it appears that Michelangelo's flight from
Florence proved a very costly affair and in the face of this
statement, doubt is thrown over the truth of the story of his
offer of a loan to the Duke of Ferrara, for he evidently required
all his money.
At a later period he saw in the favour of the Pope and in his
predominant influence over Florence an opportunity of recovering
the amount of the forced loan, he therefore presented a memorial
invoking his assistance. The Pope, although the recollection of
Michelangelo's conduct and opposition to the Medici was painful
to him, took his part and his conduct is thus described in a
letter from Sebastian:
16th August 1533.
«I gave the memorial to His Holiness in presence of the Flo-
rentine Ambassador. On which our Lord in a style and manner,
which I believe that he never before used in any thing relating
to Florence, with such impetus, fury, and bitterness ordered him
to write to His Excellency the Duke, using such terrible words
on that evening that you would be astonished were you to hear
them repeated. It is not allowable to write them and I reserve
them till we meet.
I am impatient to see you, to converse with you for half an
hour, now that I have cleared up every thing with our good
and holy Master: I believe that by this time you must have
seen some of the effects. He insists that you should have four
hundred ducats of the ward, and the five hundred ducats of the
loan to the old state. » *
1 ' Buonarroti Archives.
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AND HIS WORKS 381
Such a proceeding as this was not calculated to smooth matters
between Michelangelo and the existing government of Florence,
especially with its head the Duke now compelled to pay money
which in fact had been borrowed to help to keep him out.
Nothing short of the all powerful influence of the Pope could
have induced the existing authorities to. pay this debt of their
predecessors and enemies. Whilst His Holiness directed his own
friends to refund to his favourite artist a sum of money em-
ployed to destroy his own influence in Florence.
It was the wish of the Pope that Michelangelo should hasten
the work in the Chapel so that he might proceed to Rome, and
in obedience to this desire he divided what remained to be done
amongst various artists, which is alluded to in a letter from Se-
bastian dated from Rome the 20th of August :
€ I have made known the whole tenor of your letter to the Pope ;
who is entirely satisfied and he says, that whatever pleases you
will please His Holiness. He also says, give the execution of
the seats, the ceiling and statues and stairs to whom you like,
that they may go on with them during the winter without you,
provided that work is done, and the undertaking does not stand
still, and that they may do what is possible without you.
And when you have put these things in order you may come
here at your own pleasure, to carry on your work here this winter ;
and in the spring should it please God you will return to Flo-
rence as you have written; here there are no objections to over-
come, it rests with you to do what you choose.* *
In strange inconsistency with previous complaints of overwork
and with the means taken to prevent Michelangelo being harassed
with commissions, these negotiations terminated by imposing upon
him a greatly increased amount of personal exertion and labour.
1 Buonarroti Archives.
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1
382 MICHELANGELO
It was evident that what remained to be finished in the Lau-
rentian Library , could be fittingly intrusted to other artists, but
the present state of the statues on the Medicean monuments shows
that no one but Michelangelo could complete them. The clothed
statues of the Dukes might be polished by Montorsoli, but the
emblematic figures must be wholly by the Masters hand.
Notwithstanding the preparations described by Sebastian, Mi-
chelangelo did not go to Rome but remained the greater part
of 1533 in Florence. In September he was summoned to meet
Pope Clement at San Miniato al Tedesco, whither His Holiness
had gone on his way to be present at the marriage of his niece
Catherine de' Medici, daughter of Lorenzo duke of Urbino, with
Henry, second son of the most Christian King Francis. Sebastian
del Piombo was in the papal train then on its way to embark
for Marseilles from Porto Pisano or La Spezia, and no doubt
he was present at the conference between the Pope and Michel-
angelo, to whom he presented his horse, probably because it
could be of no use on board ship.
Michelangelo returned to Florence to hasten his arrangements
for his visit to Home, whilst the Pope continued his journey
and was transported with his court to Marseilles in the galleys
of the Duke of Albany. On the twelfth of November he sailed
again arriving at Savona on the eighteenth, whence he again
embarked this time with Andrea Doria, for his own port of Ci-
vitavecchia, re-entering Rome on the twelfth of December.
Michelangelo was still in Florence and at the beginning of 1534,
at which time, although the date is not exactly known, his father
Ludovico Buonarroti de'Simoni was seized with fatal illness and
died in his villa at Settignano in the ninetieth year of his age.
Michelangelo caused the dead body to be transported to Florence
for burial, the obsequies being conducted at a considerable ex-
pense, entirely defrayed by the affectionate and generous son.
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AND HIS WOEKS 383
He grieved over the loss of a parent to whom he had been so
devoted. His sense of filial duty was carried even to excess
and was marked by an unfailing patience and tenderness, which
no want of judgment or right feeling, no injustice of the father
could wear out. Ludovico was of narrow intellect and hasty
temper, and like all weak men was unreasonable and unjust.
He often tried his good and noble son, to whose love for him he
was so deeply indebted, in the most unworthy manner. Impatient
as that son was in his dealings with others who offended him,
and subject to outbursts of passion, he was ever gentle and con-
siderate of his father's faults of character, whilst from an early
age he denied himself even common necessaries that he might
minister to his wants.
Ludovico in dying had expressed a wish that a faithful female
servant who had attended him should not be forgotten and allud-
ing to this in a letter to his brother Giovansimone he writes:
« Because my father recommended her to me, I never will
abandon her. » *
1 Buonarroti Archives.
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Chapter XVI
othwith8TAnding the active preparations made to
facilitate the completion of Michelangelo's work,
so as to enable him to go to Rome in fulfilment
of his agreement with the Duke of Urbino, it
does not appear that he left Florence till the
Autumn of 1534.
There can therefore be no doubt that he devoted his time
without interruption to the statues for the Medici monuments,
aided by Fra Giovanni Agnolo Montorsolo in finishing those
of the Dukes, whilst working himself exclusively on those ot
Twilight and Day, till September when Pope Clement died on
the twenty-fifth, his death putting an end to Michelangelo's la-
bours in San Lorenzo.
The Sacristy, or to give it its modern and more familiar name,
the Chapel of the Medici, at that time presented a very diffe-
rent appearance from that which it does now. Giovanni da
Udine was busy painting the dome with arabesques and deco-
rating both it and the panels beneath, now empty and meaning-
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386 MICHELANGELO
less, with ornaments in stucco,, * All is now broken down or
hidden with white wash, but what was the nature of the orna-
mentation may readily be surmised by the study of other pro-
ductions of this great artist.
The Pope's instructions regarding them written on the se-
venteenth July 1533 had been very precise, and show how en-
tirely his taste differed from that which has covered them with
white wash: « Our Lord is happy to learn that you are pleased
with (the design for) the vault by Messer Joanni da Udine, and
has commissioned you expressly to say to Messer Joanni on the
part of His Holiness, that many people have informed him that
the vault is poor in colour, and that he does not like so much
white, and that His Holiness rather wishes that the vault of the
Chapel should resemble that of his « Vigna, > which is that of
Messer Baldassarre da Pescia. And above all that Maestro
Joanni be sure to use durable colours, to be as lasting as pos-
sible; that above all things he avoid certain blues and greens
which fade; thus His Holiness wills that I should advise you.>*
It is evident then that the Chapel of the Medici was richly
decorated. There is a work existing in Genoa which is very
probably in important respects an imitation of what once existed
in the Medici Chapel. It was done under the direction of Mon-
torsolo, in the vault which contains the monument of Andrea
Doria under the choir of San Matteo. Montorsolo has imitated
Michelangelo in various important statues in this choir, and as
he was present when Giovanni da Udine was busy in the Me-
dici Chapel, it is very likely that he imitated the ornaments
which he saw executed under the sanction of the great master.
1 Stucchl. The Italian expression for this kind of ornament in relief. It was entirely
unlike the mechanical stucco work of the present day, not being cast but modelled in its
place by admirable artists and always fall of spirit and variety of invention. The art may
be said to be lost. It was imitated from ancient Roman work, which however it excelled
in almost every respect.
"Buonarroti Archives. Letter of Sebastian del Piombo.
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AND HIS WORKS - 387
Michelangelo set out for Rome and arrived there on the twenty-
third of September and two days after his arrival Pope Clement
died. He only remained a few days and then returned to Flo-
rence, where he staid till the close of December. What he did at
this time is perhaps indicated by the remark of Vasari that
« Clement being dead he thought himself free to work at the
monument of Julius. » But this idea was soon dispelled when
he returned to Rome.
When the Pope died, the decorators in the chapel which he
had watched over with such anxious care, were within fourteen
days of completing it, but on receiving the news they at once
dispersed.
Various circumstances suggest what must have been the state
of the works, when the cfeath of Clement thus scattered the busy
artists. Michelangelo's health having given way in the chill
air of the chapel, he left the statues there of Night and Dawn,
and carried on the others in a workshop provided for him by
the Pope. The chapel itself must have been entirely filled with
the scaffold poles which supported the stages on which Gio-
vanni da Udine worked with his assistants.
The Laurentian Library was incomplete, especially the great
hall of entrance, the staircase being subsequently erected by
Giorgio Vasari. The crowning cornice was not set up, nor the
timbers of the roof hidden by any ceiling, the niches prepared
for statues and the panels for reliefs were left empty. Within
the Library, although the design was further advanced, yet
what is now seen cannot be all that was intended. The
painted windows, bearing the name of Clement were set in
their places in 1558 and 1568, twenty-four and thirty-four
years after his death, a rare instance of a posthumous recogni-
tion of a Pontiff's wishes. When, or by whom, the statues of
Michelangelo were erected in the chapel destined for them, has
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388 MICHELANGELO
not been stated, but that they were so before the death of Duke
Alexander is certain, for reason to be mentioned hereafter.
The monuments of the Medici recall, notwithstanding their
modern forms, the ideas of an earlier age of art. The sarco-
phagus with recumbent figures, with shafts and niches rising
behind, inclosing statues and crowned with an entablature and
pinnacles, however varied in detail, was in the general thought,
an inheritance from older creations. Any trace however faint,
of the influence of medieval art on the mind of Michelangelo
is interesting. His walks from the house in which he sometimes
lived at Carrara necessarily led him past the medieval Cathedral
of that town, and no doubt on festal days, he knelt in prayer
under its Gothic arches. Commenced in the thirteenth century
in the Lombard style, it was carried *on in the fourteenth by
Andrea Pisano, and is quite unsurpassed in Italy for the variety
and grace of its carved ornament. That of its more ancient
parts partakes of the rudeness of the early Lombard sculptors
but all the matchless skill of the Carrara marble cutters is
shown in the work guided by the taste of Andrea. It is not
unreasonable to suppose that as Michelangelo crossed that piazza
daily, he must have looked at the ancient and beautiful work
with interest.
The decorative art of the revival was strongly influenced by
medieval ideas, and masks and monsters of strange forms and
fancy, were repeated in the arabesques of the fifteenth and
sixteenth centuries, almost reproductions — but with more skill
of hand and accuracy of drawing — of earlier design, which in
its turn had been rudely imitated from the symbolic creations
of paganism. All this is more observable in Italy than else-
where. Nor is the connection between the old way and the
new limited to such details as these, the nave and aisles,
transepts and tribune of the medieval church survive in its
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AND HIS WORKS 389
classic successor. However different in detail the famous mon-
uments of the Medici may be from the canopied altar tomb,
their relation to it in fundamental idea is observable, just as the
mask under the arm of the statue of Night counterfeiting harrow-
ing dreams, and the others decorating the architecture, uncon-
sciously repeat the fancies of medieval artists , the grim faces
which looked down upon him from the capitals in the ancient
Cathedral of Carrara. Michelangelo even retained the medieval
term « Tabernacle » for the architectural backgrounds of the
monuments. The design is graceful, but the general mass, as
well as the details seem too small, made to appear all the more
so by the massive grandeur and sublimity of the statues, which
form so great a contrast to the architecture, as to dwarf it in
comparison.
The two Dukes sit in niches too cramped for them, and like
the goddess which Hadrian placed in his temple of Venus at
Rome, they could not stand upright in the spaces in which they
are confined. On each side are other narrow niches, originally
intended for statues which never were executed.
There appears to be little room for doubt that the great
Sculptor designed these monuments, like other works already
described, by the eye only, applying the scale subsequently,
not being, as he himself said, then an Architect. 1
The intention of Michelangelo as to the meaning expressed by
these monuments has been variously explained. In these pages
what befell the artist at the time when he worked upon them,
what were his political sentiments, to what level the Medici had
1 M. Braun has published a photograph of a sketch by Michelangelo preserved at Vienna,
evidently one of his designs for the Medici Chapel. A scale being applied, baaed upon
the proportions of the figures, it -was at once evident that it was too large for any space
in the Chapel, corresponding with the acute practical remark made by Clement in his
criticism. The figures were of different sizes, two measuring seven feet in height being
squeezed into spaces less than two feet wide. Others on the cornice nearly thirty feet
from the ground are two feet shorter than those below and near the^eye. The order of
Architecture is in this drawing entirely out of proportion.
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890 MICHELANGELO
fallen in the eyes of the ardent partisan of his country's freedom,
have been specially dwelt upon, for nothing can be more certain
than that all Michelangelo's works were the reflexes of his thought-
ful estimate of character, of the sentiments or emotions by which
he was animated, and of an intellect which penetrated deeply
into the meaning of every thing to which he devoted his attention.
The statues of the monuments of the two Medici do not in any
way represent the men as they were outwardly, nor is it at first
perceptible why the figures which sit on their tombs should re-
present Dawn and Twilight, Day and Night. That these four
statues have a meaning, however recondite, must be felt to be
the case by all who have studied the art of Michelangelo.
The statue of Lorenzo, popularly called the Thoughtful, sits
in his niche, clad in magnificent armour, his head covered with
a helmet of fantastic form which overshadows his features,
leaning his chin on one hand, whilst the other is placed upon his
right thigh, his feet being crossed; absorbing reflection pervades
the entire form and action of the figure. The general propor-
tions denote a man of power and action subordinated for the
time being to the thoughts which agitate him. Throughout the
whole range of the creations of art, of whatever time, it would
be vain to look for a face which expresses as this does, such deep
and hopeless mental suffering.
Opposite this tremendous embodiment of agony of mind, with
a very different expression sits the thoughtless Giuliano. He
also is clad in armour, in the garment of power, of wealth and
command, his handsome countenance is raised and his glance
is free and bold; but utterly without intelligence.
The type of this head is one which Michelangelo has fre-
quently represented. It is that of the David without its intellect
and daring, that of the Adonis without its pain. Clad as a mili-
tary leader, Giuliano holds the baton of command in his right
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HEAD OP ADONI8
P1MTK 14.
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AND HIS WORKS 391
hand, but why is it bo loosely feebly held, why is irresolution
so characteristic of that right hand? In the left there is money,
with which to bribe the enemy, he has neither courage nor skill
to conquer. Nothing can be more significant than the manner
in which he holds the coin, the action especially of the forefinger
and thumb is that of a man who is about to count down a sum.
No other artist in the world could represent force, as Michel-
angelo could when he chose, it is therefore not without a pur-
pose'that Giuliano is thus represented as an incompetent leader,
the face mindless, the hand with the baton of. command list-
less and feeble, the other filled with the purchase money of
treason.
v In the one statue mental power combined with intolerable
suffering and united with splendour and force; in the other, these
two attributes are divorced from intelligence. So Michelangelo
chose to represent these Medici.
On the sarcophagus, which contains the now desecrated bones
of Lorenzo and his worthless son, sit two nude statues male and
female. The woman represents Dawn the man Twilight, the
beginning and the end of a woeful day. The female statue is
one of the most beautiful, is in fact the most beautiful of Mi-
chelangelo's creations. In ancient art it has no rival except
the Venus of Melos in form, but it far excels that Venus in ex-
pression, for as a truthful embodiment of perfect womanhood, fall
of human emotion, it at once arrests the sympathies. This was a
power of Michelangelo. Representing the beginning of the day,
tho countenance is inexpressibly sorrowful; the action of the
whole woman is that of hopelessness; it must mean that there
was no dawn of liberty for Florence, or of the joy which it brings.
The Medici had destroyed liberty. The statue of Twilight sits
on the other side, a naked male figure which is unfinished but
the face being only sketched out in the marble, it is impossible
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392 MICHELANGELO
to say what complete expression the most inspired and greatest
delineator of emotion who ever lived, would have given it. What
is seen of the expression is pensive, solemn, as should be the
twilight of that sad night which was settling down on Florence.
Night is represented, like Dawn, by a female statue, * which
sits on the tomb of Giuliano. The attitude is constrained and
(Uneasy as that of a sleeper haunted by terrible visions, their
nature indicated by the strange, vague horror of the mask close
to her side. In her face also there is unmistakeably and forcibly
expressed suffering. She represents the doleful night which fell
on the liberties of Florence, under the tyrannical policy and des-
potic power of the Medici.
The gifted artist was not however hopeless. He had seen
and taken part in the noble combat which the Florentines had
fought, and he might well think them worthy of independence;
that they might again rise in their valour, that a day was at
hand, and in the spirit of prophecy he began to sculpture that
Day. He represented it as of gigantic form and strength, but
as he had no time to complete his idea, his prophecy remained
vague and obscure like all prophecies, and as the centuries have
passed away since his time, his thought inspired by hope has
not been understood till now, when the restored liberties of Flo-
rence have realized it. This statue of the Day that was to rise
on Florence, was evidently commenced with a fervent spirit.
Although it is only half shaped from the marble, there is dis-
tinctly visible in it mighty resolve and resistless power. In its
fofm it suggests comparison with Hercules, but had he finished
it, how much nobler it would have been than that embodiment
of physical strength, the mindless muscular Demigod of the
Greeks, for this statue like all that Michelangelo sculptured,
1 The sexes doubtlessly suggested by the genders of the Italian words L'Aurora, La Notte,
II Crepuscolo, II Giorno.
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AND HIS WOBKS 393
would have been instinct with a meaning or an intelligence
which contrast with the unmoved calm of Greek ideal sculpture.
If the Greeks excelled him in their representation of a perfect
ideal of physical beauty of form, he far excelled them in the
power of expressing mental emotion. He led the way in that
great characteristic of modern art as contrasted with ancient, its
appeal to the feelings and affections, not by abstract beauty
alone, but by the representation, sometimes under plain exteriors
and homely forms, of natural sentiment and passion. As already
described, Michelangelo illustrated this view of the province of
art in the frescos of the vault of the Sixtine Chapel.
The question naturally presents itself, if Michelangelo wished
to convey by the sculpture of these monuments an occult
meaning highly unfavourable to the Medici commemorated, how
is it that he was allowed to do so? Was there no one to ask
the meaning of his allegory, or who could penetrate it? It is
apparent that such was the confidence placed in him by his
employers, that he was allowed to do what he pleased. They
were content with very slight sketches, several of which remain,
which conveyed no idea beyond the general composition and
even that imperfectly. The work was then carried on without
the interference of any one as to its details, so long as it was
not altogether interrupted by the desire of sovereign Pontifis to
employ him in some other way. That the statues were sculptured
in privacy seems obvious, for they never were seen, except by
pupils and assistants, who incidentally allude to their merits in
their letters, but rarely to their meaning. Finally these statues
were erected after the death of Clement, during the rule of the
thoughtless Duke Alexander the Moor, without notice or record
of the circumstances, and they remain to this day mysteries of
which many explanations have been offered, and of which it is
probable many more will be written.
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394 MICHELANGELO
None of these symbolic statues have been finished. Those of
Night and Dawn are more complete than the others. In all, the
masses of marble necessary to strengthen the limbs during the
* process of chiselling, remain rough and shapeless, nor is it possible
to divine how Michelangelo would have finished them. The sarco-
phagi are not well designed, the statues are poised awkwardly
on the sloping sides of the lids, where they could neither sit nor
lie without slipping off. The general design has not been well
considered before the statues were executed, and the difficulty of
uniting them properly with the sepulchres has been insuperable.
Lorenzo and Giuliano are carefully perfected in every part,
so far as may be judged from the pavement of the chapel. This
no doubt was due to the assistance of Montorsolo, without which
these magnificent statues might also have remained incomplete. l
In another part of the chapel is placed a marble group of
the Virgin and Child Jesus, which Michelangelo alludes to in his
letter of April 1526 as « Our Lady which is to be in the sepul-
chre at the head » (of the chapel). In his representations of this
subject the tender loving side of Michelangelo's character ap-
pears, he forgets his « terrible » and becomes gentle and emotional.
This group is little morS than blocked out. A drawing of
it, which remains, is of great interest, being a bold sketch with
the pen, for the guidance of those charged with shaping out the
marble. The chisel of Michelangelo is obvious on the body of
the child and the face of the Virgin, but all the rest appears
to be assistant's work. There were various reasons why this
fine group should not have been finished. The monument of
which it was to form part was not executed. The head of the
Virgin and her raised foot are both too small in their rough
state, and to complete them, more of the surface of the marble
1 See Appendix for an account of the opening of the Sarcophagus of Lorenzo on the flret
of March 1875. «
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AND HIS WORKS 395
must have been cut away still further reducing these parts. In
its actual state it affects every one who looks on it with admiration
of the sentiment of gentle motherly love and tenderness combined
with dignity which pervades it. Thus, although an unfinished,
it is a very precious work of the great artist.
Michelangelo arrived in Rome two days before the death of
Clement, which took place on the twenty -fifth of September 1534.
His purpose in coming to Borne was to fulfil his contract with
the Duke of Urbino, but he was in a short time to be made
aware of new and formidable impediments to his purpose.
In October 1534 Alexander Farnese, Cardinal and Bishop of
Ostia, was elected Pope. If not distinguished for political ability
he was a lover of literature and art and inherited his predecessor's
admiration of the genius of Michelangelo whom he was resolved
to employ on various important works, and much time cannot
have elapsed before he sent for the great artist and informed him
on his return to Rome in December that he wished to have him
near his person, explaining to him at the same time his objects.
Michelangelo who saw in the Pope's wish new difficulties in
the way of his fulfilment of his contract with the Duke of Ur-
bino, earnestly and respectfully besought him to consider these
engagements* His Holiness exclaimed : « I have entertained this
wish for thirty years and now that I am Pope, shall I not realise
it? where is this contract, that I may destroy it! »
Michelangelo heard these words with a feeling which must
have partaken of the nature of despair, shown by his immediate
resolution to quit Rome and to take refuge in an Abbey of the
Bishopric of Aleria in the Genoese territory, and not far from Car-
rara. He had the greater reason to anticipate a favourable re-
ception that the Bishop was created by Julius, and had been
his intimate friend. Another idea, which in his new difficulty
he entertained, was to go to Urbino and to carry on his work
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there. It would seem that with much forethought he had sent
an agent there to purchase a house, which shows that he anti-
cipated a possible interference with his contract. With calmer
reflection he recalled the lessons of experience, remembered how
impossible it had been for his native government to shelter him
from the power of Julius, and he saw how little he could escape
from that of Paul. He therefore remained in Rome and hoped
that the Pope would be mollified by his representations in favour
of right and honour. Whatever these may have been, they did
not avail him. Paul accompanied by a numerous cortege of
Cardinals visited the artist's house, that he might see the designs
and Cartoons in progress for the great fresco of the last Judgment,
which had been ordered by Clement and the statues which he
had already prepared for the monument of Julius. He was re-
solved to examine minutely every thing with his own eyes.
The Cardinal of Mantua who was present, observing the statue
of Moses, exclaimed: «This is enough to do all honour to the
memory of Julius. » The Pope having seen every thing, renewed
his offers in the presence of his Cardinals, but Michelangelo
again pleaded his engagements to the Duke of Urbino, whereon
Paul said: «I will so arrange that the Duke shall be content
with three statues by thy hands, and that the other three shall
be done by another. »
Negotiations were again reopened with the Duke of Urbino
through his Ambassador at Borne, and such was the resolution
of the Pope, that they were gradually carried to a succesful ter-
mination, although some years elapsed before this was achieved,
during which time, no doubt, Michelangelo was kept in a state
of great anxiety.
The Pope having notified his resolution to stay the proceedings
as to the monument in the mean while, and that Michelangelo
should go on with his commission in the Sixtine Chapel, he is
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AND HIS WORKS 397
represented as having commenced to paint the great fresco of
the Last Judgment in 1534. A little consideration will show
that this cannot be a correct statement. He arrived in Rome
in September, and the Pope was elected in October. Previously
to this event every thing would necessarily be in abeyance.
He also left Rome and did not return till December when
the interviews and transactions with His Holiness must have
occupied some time, and before it was decided that he should go
on with the proposed great work, probably some months elapsed.
The season of winter once set in, painting in fresco cannot be
safely carried on. There were besides preparations required to
enable him to commence so great a work.
Vasari relates that he lined the entire wall with carefully
selected bricks, and that he made it lean forward at top so that
dust might not lie on the picture. . This certainly is not now
observable. After this wall was built, it would require time to
dry thoroughly, then the rough plaster hftd to be laid. It is
evident that the operations described during the preparation of
the vault, had to be repeated on the east wall, and it may be
added under the guidance of Michelangelo's mature experience.
Due weight being given to these considerations, Michelangelo
certainly could not begin to paint the fresco of the Last Judg-
ment in 1534. That he occupied himself for part of his time
preparing studies, is certain, but it is equally probable that he
carried forward the sculpture for the monument of Julius. Some-
what later two statues of Active and Contemplative life will
make their appearance in this history, the work of his hands;
when were they executed? Vasari says that he secretly worked
at the monument, when Clement believed him engaged with the
cartoons for the fresco. This could not be the case in Flo-
rence, for the occupation of his time there is fully accounted for;
but substitute the name of Paul for that of Clement, and the
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398 MICHELANGELO
story becomes probable. In the interval between the death of
Clement and the completion of the arrangements for commencing
the immense fresco in the Sixtine Chapel, the great Sculptor may
have striven so far, to fulfil his contract with regard to which
he was so much in earnest, even at risk of giving offence to the
Pontiff, before he yielded.
It was not till September 1535, almost a year after Michel-
angelo's arrival in Rome, that the arrangements proposed by
His Holiness were completed, when on the first of that month
he signed a brief nominating Michelangelo Chief Architect, Sculp-
tor and Painter of the Apostolic Palace, and numbered him
amongst his confidential servants, with all the honours and privi-
leges appertaining to his high office.
His salary was fixed at the amount, previously decided upon by
Clement, of one thousand two hundred golden crowns per annum.
Six hundred crowns of this income were to be derived from a
ferry on the Po above Piacenza, expressly granted to him as a
provision for life. Michelangelo did not formally take possession
of this, through his agent, till 1537. Some time afterwards his
rights were disputed, a rival ferry established, and it may
here suffice to say that he did not in the end enjoy his privilege
permanently.
Whilst these negotiations and works were in progress in Rome,
Michelangelo had formed a friendship which gave a new in-
terest to his life. It is not certain when he first met Victoria
Colonna, the beautiful and accomplished Marchioness of Pescara,
but it is believed to have been after his arrival in Rome in 1534.
Victoria Colonna was born at Marino, fief and castle of the
family of Colonna in 1490. She was the daughter of Fabrizio
Colonna and Anna of Montefeltro daughter of the Duke of
Urbino. At the age of five years she was promised in marriage
to Francesco Ferrante son of Alfonso d'Avalos, Marquis of
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Pescara, and they were united on the twenty-seventh of Feb-
ruary 1509, when she had attained the age of nineteen.
Ferrante was of pleasing and courteous manners, brave and
handsome and possessed of cultivated ability, and the first years
of their married life were passed in unalloyed happiness, whilst
their house was frequented by all who were noble and distin-
guished not only in arms, but in literature and art.
It is needless to dwell on the history of the temptation and
fall of Ferrante; his death took place on the twenty -fifth No-
vember 1525, when he had attained his thirty-seventh year.
Victoria wept for him; none could judge better than she, with
her clear moral perceptions, of his errors, but her affection for
him never failed, and after his death she remembered only his
brilliant qualities and their mutual happiness.
Her husband dead, she wished to take the vows and to dedi-
cate herself to a religious life as a nun, but this the Pope wisely
forbade, although he allowed her to retire into a Monastery.
She selected that of San Silvestro in Capite, which was de-
pendent on her family, and there in acts of devotion and of active
charity, in study and the exercise of her high poetical feeling,
writing verses and religious hymns, she gradually recovered her
serenity of mind, and again resumed her intercourse with so-
ciety. Amongst the men and women she attracted, endowed
like herself with high qualities, was Michelangelo, who formed a
friendship for her, marked by the depth and grandeur of his
character in its devotion and vitality, and returned by her with
an admiration of his gifts and talents, which was unbounded.
In the relationship which subsisted between them, it is pleasant
to contemplate her appreciation of his genius and works, and
the happiness which her gentle influence brought to the hitherto
solitary self tormenter, who saw too much the sad side of nature,
and whose undoubted trials were intensified by his constitutional
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400 MICHELANGELO
melancholy. His life was now illumined by a pure ray to which
he turned with all the goodness and love, which were in his na-
ture hidden under its rugged exterior. The intercourse between
Michelangelo and Victoria Colonna forms a bright and beautiful
episode in a life, the history of which is so sombre as to be
almost ceaselessly painful in its aspect, illustrated by his works
in which there is hardly a trace at any time of a smile sugge-
stive of happiness or peace.
It must seem strange that this devoted friendship which was
a source to him of comparative peace and happiness had no
influence on his mind as he painted the fresco of the Last
Judgment, the altar piece of the central temple of Cristianity,
in which are embodied such ideas of ruthless cruelty, that it
might rather have been the fitting decoration of the torture hall
of the Inquisition, as that tremendous and merciless tribunal is
popularly described.
Michelangelo painted apparently more than one picture for
the Marchioness, and her description of one of these, presents
ideas so far from those prevailing in the great fresco of the
Sixtine as to suggest that it had a meaning apart from his real
views of religion in its relation to christians. He finished the
picture for her with great care, and she wrote to him:
«Your works forcibly awaken the judgment of whoever looks
at them, and I spoke of adding goodness to things already perfect,
to win more experience by them, and I have seen « omnia pos-
sibilia sunt credenti. » I had a profound belief that God would
grant you a supernatural faith to paint this Christ: and I found
it so admirable as to exceed all that I had been able to imagine:
and animated by your miracles, I wished for that which I now
see marvellously fulfilled, that is, that it should be perfect in
every respect, more could not be desired nor even hoped for:
I must tell you that I rejoice that the angel on the right
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AND HIS WORKS 401
hand is so beautiful, for the Archangel Michel will place
you Michelangelo on the right of the Lord on that new day.
Meanwhile I do not know how to serve you better, than to
pray to this sweet Christ for you, whom you have so well, so
perfectly painted, and to beseech you that you may command
me as altogether yours in all things. » 1
Amongst those who frequented the society of the Marchioness,
were the Cardinals G-asparo Contarini, Reginald Polo, Giovanni
Moroni and Iacopo Sadoleto. It may be believed that she spoke
of the new doctrines which it was then wished to introduce into
the Church. Her faith is shown by a letter which she wrote
to Marcello Corvino afterwards Pope Marcello II, in which
expressing herself as to the opinions of Bernardino Ochino, who
embraced the new doctrines, she writes:
« I grieve greatly that the more he thinks that he excuses
himself the more he accuses himself; and the more that he thinks
to save others from shipwreck, the more he exposes them to the
deluge, he being himself outside the ark which saves and gives
security. » These few lines sufficiently show her opinions and
belief as to remaining within the Church, and there is nothing
in the life and sayings of Michelangelo to justify the assertion,
that such was not his faith also. He embraced the views of
Girolamo Savonarola regarding the importance and necessity of
a reform of morals within the Church, in its Officebearers as
in all other members of it, but this does not mean that he
embraced any of the doctrines of Protestantism. Like many
holy men within his own communion, he desired a reform of
morals in an age, when vice tainted every order of society from
sovereign Pontiffs downwards, but his life and letters show that
he never for a moment contemplated coming out of that, which
the Marchioness of Pescara speaks of, as the ark of safety.
1 The Buonarroti Archiros already published by Hermann Grimm.
26
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402 MICHELANGELO
Michelangelo, like other artists who had lived before him, gave
expression in his works to the longing desire prevalent for the
victory of virtue over vice, and like them he hurled into Ge-
henna whoever had dishonoured virtue whatever his station,
Popes, Priests, monks of wicked lives, share the fate of other
sinners in the bold and impartial art of those times.
It was during the period of his friendship with Victoria Co-
lonna that the poetic genius of Michelangelo found expression
in many sonnets, which place him on a high level as a poet as
well as artist.
There is in these none of the terrors which at the time in-
spired his pencil, they reasoned of his affections and he trans-
mitted them from time to time to the lady who was his ideal
of womanly purity. After the fashion of the age in which he
lived, the sweet and honest friendship which marked their inter-
course was spoken of as platonic love, and his verses are filled
with platonic conceits interwoven with christian thoughts, much
like his art in which paganism and Christianity are so mixed
that they cannot be separated.
In these pages devoted to Michelangelo's history and thoughts
as an artist no attempt will be- made to analyze his genius as
a poet. Much has been already written by infinitely more com-
petent authors as to his poetic merits. Here they are only al-
luded to as a tribute of respect for his genius. If, in estimating
the great character of Michelangelo his poetry is examined, it
bears evidence to his purity of mind, his patriotism, his religion
and his affectionate nature and capacity for the highest and
purest friendship. He wrote verses even from an early age, but
his most prolific poetic time was that of his ripe age when un-
der the influence of the admirable Victoria. His devoted pupil
and biographer Ascanio Condivi has expressed himself in lines
upon this subject which have been repeatedly quoted: « He
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403
greatly loved the Marchioness of Pescara of whose divine spirit
he was enamoured, whilst he was by her devotedly loved in
return, expressed to him in many sweet and pure letters which
he possesses, whilst he wrote to her many sonnets full of fancy
and gentle friendship.
She frequently went to Viterbo and other places to spend the
summer and for change, coming at times to Rome for no other
reason but to see Michelangelo: and he on his part so loved
her that I remember hearing him say that, when he went to see
her when she was dying, he lamented that he had not kissed
her face as he did her hand. » *
Nothing can express better than these words the pure and
reverent love with which Michelangelo was devoted to Victoria,
nothing can be truer to the intensity of his feelings than his
regrets. On her depth he lost all control of himself.
Victoria Colonna died in February 1547 and, it might be
justly said of her, she owes her place in history as much to her
own pure and lofty character and to her genius as to the glad
episode in her life, her friendship with Michelangelo, although
it has increased the interest with which she is regarded.
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Chapter XVII
fHEN it is remembered how greatly Pope Paul HE
' added to the architectural splendour of Borne
luring his pontificate of sixteen years, his dis-
ppointment upon finding an obstacle to his
nployment of Michelangelo may be under-
stood and sympathised with. His plans, characterised by genius
and grandeur of conception, were liberal and high minded, for
the benefit of the Church and of the State, and for the improve-
ment and adornment of Rome. It must have appeared intol-
erable that he should be prevented availing himself of the abi-
lity of the greatest artist of the age by his devotion to a work
of no public benefit or utility, and which originated in selfish
vanity.
The Pope was of too resolute and energetic a disposition to
allow such a hindrance to his plans. His predecessors had pre-
vented the completion of the monument of Julius from motives
which were scarcely less egotistical than its design and purpose,
but those of Paul bore a loftier character.
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406 MICHELANGELO
Whatever their nature they were not likely to influence the
Duke of Urbino, but he had strong motives for wishing to con-
ciliate the Pope, and he so far yielded to the representations
made to him, that the contract with Michelangelo was appa-
rently allowed to fall into abeyance.
Important works were undertaken or continued at the be-
ginning of the new Pontificate. The Pauline Chapel was by
the Pope's orders designed and commenced by Antonio Piccone
da Sangallo, who was also the architect of his family residence
the Farnese Palace in the Campo de'Fiore. The Farnese gar-
dens were laid out with their terraces and decorated pavillions
on the ancient Palatine hill, and the neighbouring Capitoline
was soon to feel the active influence of the Pope's taste and
love for splendid buildings.
It was neither as Architect nor as Sculptor that Michelangelo
was first employed by Pope Paul, but to paint the fresco of the
last Judgment in the Sixtine Chapel, projected by his prede-
cessor Clement. It was to the credit of the new Pope that he
was satisfied to allow a work to proceed for which preparation
had been made, instead of casting it on one side in favour of
some device of his own for his personal or family honour.
The difficulties which present themselves to the acceptance of
the truth of the usual statement, that Michelangelo began to paint
the fresco of the last Judgment in 1534, have been explained in
the last chapter. It is a significant fact that the artist's ap-
pointment to the high office of Architect, Sculptor and Painter
of the Apostolic palace is dated the first of September 1535.
This would seem to indicate that the negotiations with the Duke of
Urbino and with Michelangelo did not make very rapid progress.
Both, there can be little room for doubt, would be very qnwilling
to overthrow a contract so solemnly ratified. When the nature
of that contract is considered, it seems strange that Paul should
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AND HIS WOBKS 407
have been so anxious to get rid of it. By it a part only of Mi-
chelangelo's time in each year was to be given to personal work
for the Duke of Urbino, the rest was at the Pope's disposal.
He could therefore paint the fresco when the season was favour-
able, and in winter dedicate himself to the statues for the monu-
ment, whilst his assistants might, under his direction, proceed
with it permanently.
It would have been well for all had the contract been main-
tained, and the conciliatory disposition shown by the Duke of
Urbino entitled him to more consideration at the hands of the
Pope than he met with. It would seem however that His Holiness
could be satisfied with nothing less than the entire disposal of
Michelangelo. His emoluments were fixed at the same amount
as by Clement, twelve hundred gold crowns a year, six hundred
of which were secured and intended to be a provision for life
on a ferry on the Po above Piacenza, which Michelangelo took
formal possession of in 1537.
At what period of 1535 Michelangelo began to paint in the
Sixtine Chapel cannot be now determined. As he could not
begin his preparations till some time after the election of the
Pope, and as those preparations were of an extensive description
and careful nature, they must have taken some time. It may be
doubted whether the brick facing was built in the unfavourable
winter season, for about the fresco in its present state there are
no symptoms of the effects of damp. In all probability Michel-
angelo profited by the experience gained on the vault, and com-
menced his new work with prudent deliberation.
There is a strange story told by Vasari in the life of Sebastian
del Piombo, that he prepared the wall for painting the last judg-
ment in oil, hoping to be employed to assist Michelangelo, and
that the latter ordered the preparation to be taken down. All
this is very improbable. Sebastian who was an excellent man
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408 MICHELANGELO
of business never would have taken such a step, or encountered
so serious an expense, without a complete understanding with
Michelangelo, of which there is not a trace in the correspon-
dence, whilst Vasari in relating what took place with regard to
the preparation of the wall by Michelangelo himself, evidently
means that it was done after the election of Paul.
There might have been two preparations at different times,
but this is an unsatisfactory solution. The declaration that
painting in oil was an art for women and wealthy people, put
into the mouth of Michelangelo, must mean, if it was said at
all, that it is not suitable for mural painting, in which aspect
the criticism is interesting and important. In early life Mi-
chelangelo showed in his round picture for Doni, his apprecia-
tion of and his great skill in oil painting.
As formerly, when the door of the Chapel shut on Michel-
angelo, his operations vanish from our view. The history of the
fresco is not illustrated' by graphic letters to his kinsfolk de-
scribing difficulties and disappointments, or troubles springing
either from the self-willed obstinacy of the Sovereign, or the in-
capacity of assistants, or from his own want of experience. When
carefully examined it offers no evidence of any being encoun-
tered which were not readily disposed of* Neither have any
incredible statements been made as to the shortness of the time
occupied in painting this immense work. On the contrary more
time has been assigned to its execution than it can have occupied,
for on examination, it will be found that it was painted with
marvellous rapidity, by a hand, which knew no hesitation.
Thus occupied, 1536 and the greater part of 1537 passed away.
That the fame of the picture was in that year spread to other
parts of Italy is illustrated by a letter written by Pietro Axetino,
who thought that he could instruct even Michelangelo. He thus
wrote on the fifteenth of September 1537:
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AND HIS WORKS 409
« Why not be content with the glory hitherto acquired? It
seems to me enough that you have conquered all other artists
in your former works, but I feel that in painting the end of
all things which you are now doing, you aim at surpassing your
representation of their beginning, so as to triumph over yourself.
Who is there that would not tremble and fear to dedicate the
pencil to so terrible a subject ! I see in the crowd the Antichrist
with features which you alone could imagine: I see terror on
the countenances of the living. I see the signs of the extinction
of the sun, moon and stars; I see the elements melt and disappear,
and I see exhausted Nature become sterile in her decrepitude,
and time sapless, and trembling that his end should be come,
sitting on his arid throne; whilst I hear the angel's trumpets
terrify the hearts of all, I see life and death scared by the fearful
anarchy, the first seeking to raise the dead, the other to destroy
the living; I see hope and despair, the first arraying the hosts
of the good, the last gathering together the masses of the bad;
I see the theatre of clouds illumined by tjie bright rays issuing
from the pure light of heaven, with seated in the midst Christ
girded with his splendour and his terrors, and I see his resplendent
countenance, which fills the good with joy, the wicked with despair;
also I see the ministers of the abyss, with their horrible aspects,
deride the Caesars and the Alexanders who conquered worlds,
but could not conquer themselves, self conquest being reserved
for the saints and martyrs, who achieved this greater glory. I see
feme with her crowns prostrate under her own chariot wheels,
and lastly I see the arrowy flight of the words of judgment, issuing
from the mouth of the Son of God amidst tremendous thunderings,
amidst the confusion of the elements, fly downwards and dash
against and destroy the frame of the world.
I see the darkness which has spread over space illumined only
by the light of paradise and the furnaces of hell. Whilst such
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410 MICHELANGELO
are the thoughts which the ruin wrought on doomsday present
to my mind, I say to myself: if we tremble and fear in the pre-
sence of the work of Buonarroti, how shall we fear when we see
ourselves judged by Him who is to judge us ! Your Signory may
believe that the vow, which I had taken, not again to see Rome
may be broken by the desire which I have to see this picture.
I will rather give the lie to my purpose than fail to do honour
to your genius, which I pray you to believe, it is my wish to
herald. » l
Aretino's object in thus describing the doomsday, in which it
is altogether doubtful that he believed, was to obtain from Mi-
chelangelo the gift of one of his works. His was a venal pen,
but not the less dangerous. That he was not a judge of the
province of art is obvious, but Michelangelo knew that his elo-
quence might take the form of merciless and unscrupulous satire
which there were plenty of people to believe, therefore he pru-
dently replied:
« I have experienced both joy and sorrow in receiving your
letter, joy that you, who are so unique a genius, should write to
me, and sorrow inasmuch as having completed a great part of
the picture I .cannot avail myself of your imagination which is
so just, that had doomsday come, and had you actually seen it,
no words could describe it better than yours. To answer your
proposal to me, not only would it be agreeable to me, but I beg
that you will do it; for even kings and Emperors think it an
advantage to be the subjects of your pen. If I have anything
that could be pleasing to you to accept, I offer it to you with
all my heart. »
1 BottariandTieozci. Letters on painting and sculpture. Milan, Sllvestri, 1822, p. 88-80.
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AND HIS WOBKS 411
This letter indicates that considerable progress had been made
with the painting in 1537. The scorn of Michelangelo hidden
under courteous words, may have pierced even the hard hide
of Aretino. He did not write his proposed advertisement, but
negotiated to obtain flie gift of a work of the great artist. What
he finally wrote will appear hereafter.
In the month in which Aretino honoured Michelangelo with
his correspondence, the Pope issued a Brief regarding his em-
ployment of a very singular nature. It is not related what were
the immediate motives for its publication, whether the Duke of
Urbino or his friends were again pressing Michelangelo and so
necessitating the Pope's interference, or whether in his anxiety
of mind, he was devoting part of his time to the monument which
the Pope may have heard of and wished to prevent.
Vasari states that Michelangelo secretly worked at the monu-
ment in the time of Clement. It may be asked when and
where? If the name of Paul be subtituted for that of Clement,
the story attains consistency and probability. Not only had
Michelangelo time in the early part of the pontificate of Paul
to devote himself to the monument, but he evidently had the wish,
and two statues by his hands, namely « Active and Contempla-
tive Life » which must have occupied some time in the execution,
can be best accounted for by assuming that they were done at
this time. It will also be seen hereafter that he blocked out
other statues with his own hands.
The Brief, which is dated the eighteenth of September 1537,
commences by recapitulating the history of the monument and
the transactions connected with it. It then goes on to say that
Michelangelo was commanded to put it aside by Pope Clement!
that he might paint the altar end of the Sixtine Chapel ; that
thereafter he, (Pope Paul) desiring that the picture should be
properly completed and without loss of time, declares that it
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412 MICHELANGELO
was by no fault or act of Michelangelo, but by obedience to bis
commands that he had not been able to finish the said monument
within the time agreed upon, « wherefore he was absolved and
liberated, he and his successors, from whatever contravention
or failure had taken place, and from any sum of money, which
on account of the monument he had received. » l
The last contract made with the Duke of Urbino with the
especial sanction of Pope Clement was ratified in April 1533,
therefore when Paul issued the above Brief rather more than
four years had elapsed, and the contract, which was to be com-
pleted in three years, remained unfulfilled. The statement re-
garding Clement is singular in its unfairness. He is represented
as being the first to stay a work, which long before had been
arrested by Leo X. Pope Clement did not stop it to enable
Michelangelo to paint the fresco in the Sixtine, and he was
perfectly justified in giving that commission, for the artist's time
was at his disposal for eight months out of each of ,the three
years of the contract's proposed duration. It was Paul who de-
feated the contract, and the statement of his Brief is eminently
unjust to his predecessor, whose conduct is in fact represented
as treacherous in the extreme, for he negotiated the last contract
with the Duke of Urbino, by which Michelangelo was to give
part of his time to the monument and part to the service of
His Holiness.
To give effect to these arrangements a number of artists were
employed to hasten and complete the works at Florence, which
detained Michelangelo. There is some obscurity certainly about
the dedication in terms of the contract of four months in 1533
to the monument, but evidently a great effort was made to comply
with its provisions and any failure to do so that year, probably
was explained and excused.
1 Quoted by ttgnor Gottt in his life of Michelangelo. V. i, p. 863.
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AND HIS WORKS 413
It has been stated that the conduct of the Duke towards the
Pope was eminently conciliatory, and that he appears not to
have insisted on the fulfilment of the contract. This view of
the case is assisted by the absence of all complaint on the part
of Michelangelo of any interference with his work or his mental
peace. From all that has been seen of him and his usual habits,
it is evident that had the Urbino party had recourse to their
former tactics, they could have made his life unbearable and
would have interrupted his work in the Sixtine, whilst he with
his usual fervour would have addressed memorials to the Pope
and letters to his friends ; perhaps thrown up his office. He did
none of these things, but continued quietly and industriously
at work.
Although the Duke of Urbino wished to conciliate the Pope,
he was evidently unwilling to free Michelangelo entirely. A let-
ter written by him on the seventh of September 1539 has been
preserved. It is expressed in very friendly and moderate terms:
« Dear Messer Michelagnolo. Although we have held, and
now more than ever, that earnest wish, which you may so readily
understand, to see finished by you the monument to the holy
memory of my uncle Pope Julius, and as we well know it is
our bounden duty to be careful that it shall be finished, beholden
as we are to the memory of the holy man, notwithstanding,
having learnt by a letter from our Ambassador at Rome the
great desire of our Lord, we must bear with patience your dis-
pensation from the work for us, whilst His Holiness keeps you
occupied on the picture in the Chapel of Sixtus: and as you
cannot, and as we by duty and natural inclination will not be
wanting towards him in this as in all else, we have with good
will agreed to convenience you in the thought of and by the
reverence which we bear to His Holiness, so that you may freely
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414 MICHELANGELO
continue the said painting till the completion of the work; with
the firm opinion and hope on our part, that being finished, you
will give yourself to the monument, doubling your diligence and
solicitude to remedy the loss of time, as His Holiness has pledged
himself that you will do, having benignly offered himself to urge
you to do so: to this end we have written this ours, that as a
long time has passed since you began the said monument, we
are entirely persuaded that you must be as desirous as we are
to see it finished; and holding you to be a man of honour, as we
certainly believe that you are, as you cannot be otherwise seeing
your singular gifts, we do not further solace you, thinking it to
be superfluous, except that it may preserve your health, so that
you may honour those holy remains of him, who when living
honoured you and other learned men of that time as we have
heard many times; and we request that if we can otherwise be
of service to you, that you will let us know, as we shall do it
with that good will, which your rare talents merit. May it be
well with you. » *
Michelangelo had shown his friendly feeling towards the Duke
of Urbino some time before the receipt of this letter, by making
for him a design and model for a saltcellar to be executed in
silver gilt. Girolamo Ostacoli thus describes it in a letter to
the Duke: «The model for the saltcellar has been finished now
for about two months and the silver work is commenced, con-
sisting of the talons of certain animals, which are to support the
vase decorated with masks and foliage as directed by Michel-
angelo, » who thus like other great Masters of the time, showed
his readiness to undertake the design of works of decoration.
A mortar in white marble ascribed to him is preserved in the
1 The Buonarroti Archives.
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AND HIS WORKS 415
Rospigliosi palace at Some, and is a very beautiful work. Its
story is told by Vasari and it undoubtedly exhibits the char-
acteristics of Michelangelo's phantasy.
The Pope was in the habit of visiting the Sixtine Chapel from
time to time to see the progress made, and on one occasion he
turned to Messer Biagio di Cesena, his Master of Ceremonies,
who was in attendance and asked him, what he thought of the
fresco. The straight forward Biagio replied, that he thought
so many naked figures very immodest, and that the painting
was not suitable for a Chapel, but fit only for the resorts of
immorality. Michelangelo heard these remarks, and when his
visitors had departed, he painted the head of the demon, judge
and Master of Ceremonies, Minos as a likeness of the critical
Court official, who upon hearing of it, complained to the Pope
of the gross insult. The Pope replied: « had he placed thee in
purgatory, I should have done all that is in my power to relieve
thee, but as thou knowest from hell there is no redemption. »
This event must have taken place when the completion of the
picture was near at hand for the figure of Minos is in the left
hand corner near the bottom. About the same time Michel-
angelo met with a serious accident by falling from his scaffold
whilst at work. It is fortunate that this happened near the end
of his painting, still he must have fallen seven or eight feet.
He was much bruised and shaken, and was carried home, when
with that strange disposition of his he refused all assistance or
advice and lay groaning on his bed. His friend Baccio Rontini,
an able surgeon, was not to be baffled and found his way into
the house and to Michelangelo's bedside and did not leave him
till he had healed his bruises and enabled him to resume his work.
Vasari goes on to say that he completed it in a few months.
It is much to be regretted that Michelangelo should have left
no written record of the thoughts which influenced him when
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416 MICHELANGELO
he designed and painted the fresco of the last Judgement. The
subject had been frequently represented by some of the greatest
of his predecessors in art By Giotto, Orcagna, and nearer his
own time by Luca Signorelli.
It had been usual to paint the Judgment on the wall of
entrance of a Church or Chapel, as by Giotto in the Scrovegni
Chapel at Padua, and in the Chapel of the Podestk at Florence.
In the Strozzi Chapel in Santa Maria Novella in the same city,
it occupies three walls. It was also considered a fitting subject
to represent in a cemetery, and was painted in the Campo Santo
at Pisa. Luca Signorelli's famous compositions are on the lat-
eral walls of a Chapel in the Cathedral of Orvieto.
The idea of Pope Clement to represent the Judgment as an
altar piece, with the mouth of hell, with all its horrors, exactly
over the altar, was an innovation. The Priest engaged in the
most sacred functions of his religion could not raise his eyes,
without seeing that dark opening, and figures of demons peering
out of it, which are horrible or ludicrous, according to the tem-
perament of the spectator. The inconsistency of such a repre-
sentation on such a spot was recognized at a later time and an
altar piece of tapestry waa placed in front of it.
The subject was represented by the early Masters with grav-
ity and dignity so far as the principal figures were concerned,
and in obedience to certain canons and traditions of the Church,
but they invariably fell into the absurd in their efforts to depict
the terrors of hell.
They invented or repeated from somewhat earlier art, those
monstrous and ludicrous forms of devils which have ever since
haunted the imaginations of christian men. Even the most
ultra-protestants have preserved both in their literature and art
these hideous inventions of sculptors and painters, whose faith
otherwise they have so widely departed from.
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AND HIS WORKS 417
In the pictures of the early Masters the Judge of all men
clad in rich robes is represented enthroned and pronouncing
sentence. His action dignified, his expression sorrowful, whilst
his Virgin Mother near him'gazes on him with a look of tender
pity and entreaty. The blessed, in bright garments falling to
their feet, are placed to the Lord's right hand in rows above
each other, in the artist's ignorance of perspective, or to the
right and left of His throne if the condemned are represented
on another wall. Angels in medieval panoply separate the bad
from the good and drive them despairing towards the demons
ready to drag them into the place of punishment. The painters
were all levellers. Popes, Emperors and the great ones of the
earth, Priests, Monks, Nuns and Laymen, are equally driven from
the presence of God into the society of devils. There was in
these days a liberty of the brush not surpassed by the liberty
of the modern press.
Hell was in some cases represented at the bottom of the gen-
eral composition, in others on a separate wall, and the ideas
of Dante were reproduced in a very childish way, so that had
they been known only by the painter's realization of them, they
would have seemed abundantly common place and devoid of
all poetry whatever.
• The first great artist who rose above these inanities and
substituted for them grand representations of the terrible, was
Luca Signorelli. Without question his fresco of the mouth of
Hell with the fall of the condemned and the triumph of the
demons who reign there, is the most original and at the same
time the grandest attempt yet made in art, to realise the terrible
scene, to render its horror without falling into the common place
or absurd. In that most remarkable picture Signorelli is the
Dante of painting, and Michelangelo borrowed ideas from him
without excelling him.
87
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418 MICHELANGELO
m
The art of Luca Signorelli is preeminently of the renais-
sance. His power of drawing and of representing life-like ex-
pression enabled him to excel the medieval painters in em-
bodying the misery and sufferings •of the condemned, but he
fell beneath them in depicting the felicity of the blessed, who
in his great work are thoroughly uninteresting and indecent.
Thinking in the first place of his own skill in delineating the
human form, he was the first artist to depart from the hitherto
universal practice of previous times and in his famous frescos
the souls of the righteous are as naked as those of the condemned.
The singular and tasteless draperies with which the former are
now invested were painted in an age of worse taste, and no
greater morality than his own. If Signorelli thus anticipated
Michelangelo in the display of the nude human form in his
picture of the resurrection, he did not fall into the further excess
of stripping the angels of the beautiful and modest garments
with which they had hitherto been always represented. This
was reserved for the fresco of the Sixtine.
Michelangelo must have been familiar with the orderly mar-
shalling of the figures, in the pictures of the early Masters, and
he was aware that in this they were guided by ancient precepts
and doctrines. He also saw the freer design of Luca Signo-
relli, and in his great painting he combined both principles of
composition and design; thus in the Sixtine, if the general ar-
rangement be .carefully considered, it will be found to be or-
dered on a decorative principle of masses of similar forms which
balance each other on each side, or above and below the cen-
tral point of interest of the picture.
This regularity is obtained not as in the pictures of the x>ld
Masters by placing the figures in formal rows or in any sim-
ilar way, but by balancing groups most of which contain a
number of figures, the action of each being at the same time
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J
AND HIS WORKS 419
free, for no two throughout the whole composition are alike
in position, the invention is inexhaustible.
As this independence of movement, which he aimed at, would
have made it impossible to maintain at the same time the gen-
eral balance of the composition, it is assured by heavy masses
of cloud on which the figures sit or stand, the cloud filling up
the interstices and rounding off the general masses.
In the lower part of the picture this order is dispensed with,
being interfered with, in what may be termed the second story,
of the general design by the figures which ascend and descend,
but above this it is the rule.
Michelangelo has not thought fit to surround his great picture
with any decorative framework, consequently it is not in concord
with the other frescos on the vault which are thus enclosed.
It is an innovation as compared with prevalent custom and is
not a successful innovation.
As has been already stated the Chapel is bare of any con-
structive architectural decoration, it is a mere barn with bare
walls and it has consequently been necessary that the painter
should supply what the architect has omitted. Handsome pilas-
ters and cornices are painted to divide the other pictures on the
walls from each other, and the magnificent architecture in which
Michelangelo inclosed his compositions on the ceiling has already
been described. Nothing of the kind surrounds the last Judgment
and it consequently presents the appearance of an unframed
picture, whilst the sudden change of scale in the figures when
compared with those in the paintings near it, has an unpleasant
effect which would have been readily obviated by the presence
of a moderate amount of architectural ornament inclosing it,
and separating it effectually from the frescos close to it.
The top of the picture is divided into two arches by the pen-
dentive of the vault on which the gigantic figure of Jonah is
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420 MICHELANGELO
placed. These two arches are filled with muscular and per-
fectly naked wingless angels, who brandish or struggle with
the instruments of the passion. The pillar for instance is a heavy
shaft which they strive with, like Carrara quarrymen. How-
ever varied the actions of these toiling members of the heavenly
host, they form in their general shape two great garlands of figures
pendent below the arches, the curves of which they reverse.
In the centre of the composition but near the top, the figure
of the Saviour is placed within a glory of an elliptical form and
seated; crouching close to His right side is the Virgin Mary.
Without this central glory is a circle which includes Patriarchs,
Prophets, Apostles and Saints thought worthy of the same high
place, beyond whom the eye penetrates into space and light.
On each side are the curved outlines of the spheres of the Blessed
brought down with a sweep to each flank, and so forming a
vast arch above which is heaven, beneath it the realms of earth
and hell. Such is the general composition of the fresco painting.
Allusion has already been made to the dignified and kingly
robed figure which sits enthroned in the central place of the
pictures of Doomsday by the early Masters, with the well known
type of countenance and the look of sadness with which tprning
towards the wicked He pronounces sentence. It may be very
primitive and simple, but if the error is to be committed of
painting such a subject at all, what better could be devised?
For this ideal air-drawn conception Michelangelo has substi-
tuted a youthful athlete of enormous physical strength, as if the
unhappy thought had possessed him of thus representing divine
power. The beardless countenance is that of Apollo, the locks
are parted, wavy and agitated, the features without expression.
This young giant gathers his great limbs beneath him to rise
from his seat, but pronounces the doom of the wicked as if in
haste before he has quite risen. With the index of his left hand
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AND HIS WORKS 421
he points to the wound in his side, as he raises and spreads his
right with the scar of the nail in it. He is nearly entirely
naked, not a robe covers him, hut a fragment of yellow drapery
hangs from his shoulders, its edges only seen in front, part of it
lying across his thighs. The whole action is devoid of dignity,
and this figure of the living Christ as judge of mankind, is offen-
sive to taste and sentiment of religion. On the right of this
misrepresentation of the Son sits the Virgin Mother, clad in
robes of blue and purphj, the latter probably once crimson, with
a drapery over the head of a greenish hue. Her right arm is
bare and of muscular proportions. She folds her hands across
her chest and turning her head looks towards the souls of the
blessed, who are ascending upwards; her face is without sentiment
of any kind.
On the right and left of this central group are what may be
literally termed the giants of the old and new Testaments. The
most important figure to the right is that of Adam who, stepping
forward, gazes over his left shoulder with a look of curiosity
towards the Judge, Eve to his right earnestly grasps his arm;
she is utterly without feminine grace or beauty, both are stark
naked in front, but on their shoulders and hanging down their
flanks may be seen the edges of their garments of skins. In
front of them sits St Laurence near their feet, with his usual
emblem of martyrdom, but it is evident that his own sufferings
have taught him no pity for others. Close to Adam, but with
his back turned, is St Andrew, and behind this group the heads
and shoulders of many other Saints who form the half of the
circle to the right
To the left of the Saviour and in front a naked St Bartolo-
mew, forming a pendant to St Laurence, holds his skin in his
left hand, the flaying knife is raised in the right towards Christ,
as if he would plead the merits of his horrible martyrdom in
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422 MICHELANGELO
favour of the condemned. Where there is any expression at
all in the figures, it is that of protest and entreaty. St Peter
holds out his golden key, St Paul behind him raises both hands
in deprecation. From all the prominent figures, apparently the
cry issues, far be it from thee Lord, forgive them ! But the Christ
of Michelangelo is deaf to entreaty or plea for mercy.
To the right and left of this great central group, which is so
close to the throne, are the crowds of blessed spirits which are
safe in heaven. Some are well known Saints, but most of them
are a nameless throng, eager, pitiful or indifferent as the case
may be. Some clad, some naked, and amongst them many nobly
designed figures, unsurpassably fine in drawing, many forms of
beauty, but all robust in the extreme. Michelangelo nowhere
admits, either into heaven or hell, any, but the physically
powerful.
Beneath the great central circle of Christ and the saints, lower
down in the picture, is another group of naked angels who
blow trumpets towards the four quarters of the universe, and
four others hold open the books by which the dead are to be
judged according to their works, and still lower down are seen
the sea, and the land and the grave yielding up their dead for
judgment. Keeping in mind passages of scripture, of which
Michelangelo was at all times an eager student, the left hand
side of the picture may be understood; death and hell have de-
livered up the wicked, who have ascended, been judged accord-
ing to their deeds, and precipitated downwards after the sen-
tence. On the other side the blessed also rise to life and
ascend or prepare to ascend, some aided by angels, some by their
own merits only, some scale the cloudy battlements of heaven
and struggle upwards. The expression of the Blessed, as in the
picture of the same subject by Signorelli, presents nothing that
is interesting, and it is a remarkable circumstance that in no
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AND HIS WORKS 423
single figure is there any reverence, love or devotion towards
the God, with whom they are brought face to face. But all
Michelangelo's powers of rendering expression are developed to
the full, in the faces of the damned there he is terrible, and
his art rises infinitely above the childish representations of the
early masters in painting the terror and woe of the lost, whilst
the demons are tremendous beings invested with supreme power
over the children of evil with no dread of the interference of
good, suggestion of pity, or claim of mercy; with the privilege
of torturing for ever, of which it might be supposed that even
devils would tire.
How far such a representation of the day of doom, of the Judge
and of the Judgment, of heaven or of hell, in the central sanc-
tuary of the Catholic Church, is consistent with any just view of
Christianity, need not be discussed here.
In treating the subject as he has done, the ardent disciple of
Savonarola, faithful to his Church but a stern denouncer of the
pomps and vanities, the worldliness and wickedness of so many
of its adherents, from the highest to the lowest, in an age stained
by so many and such portentous vices, may have seized the
opportunity of representing within the very sanctum of that
Church the merciless denunciation of sin.
Whatever Michelangelo's guiding motives he cannot however
escape the charge of great irreverence whilst he is open to another,
that he thought more of the display of his extraordinary power
of representing the human form, than of a fitting treatment of
his theme. On the other hand he had with him the sympathy
and approval of the head of the Church. The Pope watched
the work from the beginning till its termination, and can have
made no objections, although some of those around him did so,
and it has been seen how the Master of Ceremonies was treated
for his honest expression of opinion. It was Pietro Aretino,
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424 MICHELANGELO
however, who placed on record the sentiments of those who were
scandalized by such a representation of the day of Judgment in
the Pope's Chapel. The letter will not bear literal translation,
whilst it is characterised by enormous vanity and much personal
malevolence of feeling towards Michelangelo, still it shows that
such a method of representing a sacred subject and spiritual
beings was not necessarily characteristic of the age, but was
altogether exceptional.
The letter was written in 1545 after he had seen a sketch
of the entire subject and after he had lost all hope of receiving
the gift of something executed by the hand of Michelangelo, it
went on to say: «Is it possible that you, who hardly deign to
consort with men, can have represented in the sacred temple
of God, above the altar of His Son, in the greatest Chapel in
the world, where Cardinals and Bishops and the Vicar of Christ,
with Catholic ceremonial and sacred ritual, confess, contemplate
and adore the body and blood of Jesus.... so lofty a subject, with
angels and saints without a remnant of modesty and denuded
of all celestial ornament I Even pagans, in sculpturing, I do
not say Diana clothed, but Venus naked, imparted to her a modest
action: whilst a christian thinking more of the display of his art
than of faith, presents holy martyrs and Virgins indecorously
naked, so that your design is fitter for a lascivious bagno than
the choir of a Church. » Aretino then bursts into a consideration
of what would have been the different results had Michelangelo
«been advised in representing the world and paradise and hell,
with the glory and honour and terror sketched out in his letter
which is read by all with admiration. He dared to say, that
nature and the benign influence would never have repented of
bestowing on Michelangelo so rare a talent, that he was the image
and casket of the highest and most marvellous gifts, but that
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AND HIS WORKS 425
Providence, which rules all, would have preserved such a
work as useful in maintaining the order and government of the
Hemispheres. »x
These absurd and monstrous expressions go far to destroy
whatever seems just in the criticism of the picture, but the gen-
eral feeling as to its indecency led at last, soon after it was
painted, to Daniel da Volterra being employed to drape the most
offensive of the figures, a task which exposed him to much ridi-
cule, but the fulfilment of which has doubtless been the means
of saving the picture at a later time from stronger measures and
from entire destruction by whitewashing over.
Whilst there is room for so much difference of opinion in dis-
cussing the general spirit and tendency of the fresco of the last
Judgment, safer ground is reached when describing its design
and execution as a work of art.
When Michelangelo painted the frescos of the vault of the
Sixtine Chapel he passed his thirty -seventh birthday before
he completed his task. If the usual chronology be adhered to
he was sixty-six years of age when the fresco of the last Judg-
ment was finished. That at so advanced a time of life he was
able to complete so great an undertaking may well be thought
wonderful, but the wonder is increased when it is closely and
carefully examined. During the twenty- two years which elapsed
between painting the vault and the last Judgment, there is no
certain account of his having painted any other mural picture,
or of his practice of fresco; yet the first impression derived from
an examination of the fatter work is that it is executed with a
more certain and facile hand than the pictures above. In sur-
veying and estimating the powers of the gifted artist these facts
have a peculiar interest, for they are opposed to experience, as
1 The original is in the State Archive* Florence. Printed by Gaye. V. u, p. 889.
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426 MICHELANGELO
in most men abstinence from painting for so many years would
inevitably lead to loss of power and decay of skill.
In describing the process of painting the last Judgment, it is
proposed to follow the plan adopted in analysing the technical
execution of the earlier work.
That full size Cartoons or working drawings were made use
of, is evident." The nail holes by which they were fixed are
observable on some parts of the surface of the plaster. That
they were not laborious drawings or much detailed, is also ap-
parent. The manner in which the outline was transferred to the
plaster may be inferred first by the general absence of marks
of the stylus and secondly by Michelangelo's preference for the
pounce bag as shown in his works on the vault. So far as the
surface of the great fresco has been examined, there are no
instances of the use of the sharp point of a stylus to mark' in
details of form independently of the Cartoon, whereas these are
not unfrequent on the vault. Whilst such are the general facts,
there are exceptions. Thus the cavern mouth directly in the
rear of the altar, and the demons peering out of it, and a few
figures in other parts of the composition, present the clearest
evidence of having been drawn by the stylus over the Cartoon
with careful attention to detail.
Two circumstances are to be inferred from these observations.
The first is that Michelangelo's confidence in his own powers
was so enhanced that he painted with very slight indications of
outline; the second is, that where the outlines are laboriously
marked the work is that of an assistant. There is no other re-
cord of assistance but the silent evidence of the fresco itself suf-
ficiently shows that it was made use of. To what amount could
only be decided by a close inspection of the whole surface of
the picture; there can be no doubt however that by far the
greater part of it was executed by the hand of Michelangelo.
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AND HIS WORKS 427
An important change is observable in the method of painting.
In describing that of the figures of the vault it was observed
that notwithstanding their distance from the floor, about from
fifty to sixty feet, the faces and heads are painted with the most
scrupulous accuracy of detail. Now in the fresco of the last
Judgment many of the heads, seen from a distance of twenty feet
only, are so generalized that they may be said to be blocked out
rather than completely painted. Nothing however can excel
the accuracy of the shapes and of the modelling, but minute
details are avoided. It is not meant to be maintained that this
treatment is erroneous. It is a step in the direction of a prin-
ciple of modern art to forbear needless detail, and nearer the
base of the picture, accuracy of finish increases till all is done
that is needful to satisfy the eye.
It is evident that at this period of his life Michelangelo had
become a closer observer of the effects of aereal perspective,
whilst his subject in which there are many perspective planes,
imposed conditions, differing from those of the design in the
ceiling.
The method of painting combines breadth with careful model-
ling of the nude, the parts are rounded with exquisite finish and
feeling for truth of light and shade, graduated with perfect
delicacy of touch from the high lights into the half tints, from
these into the shadows and thence again into the reflections.
The eye never wearies of contemplating the perfection of the
manipulation, unsurpassed by the most careful painters in oil,
yet characterised by a monumental simplicity suitable to the
dignity of mural painting. The absense of all «chicque» smart-
ness or affected cleverness of touch, by means of which it is so
often sought to withdraw attention from defects of form, is re-
freshing, whilst the care with which the fiery, vigorous, daring
designer works out his boldest ideas is wonderful, and a lesson
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428 MICHELANGELO
to all those enthusiasts, who appear to believe hasty imperfect
execution and genius are necessarily coexistent They may
perhaps suppose that this careful conscientious finish of the great
Michelangelo must be the result of a great consumption of time,
but this mighty artist cftuld paint an entire figure life-size, in
the manner described in one working-day, when he chose to
do so.
The painting of the draperies where they have been executed
by the hand of Michelangelo, is sketchy as compared with the
nude, and resembles the method of the fresco's of the ceiling.
It may well be considered a hopeless task to discover and to
describe truly what was once the colour of this marvellous
picture, darkened, as it now is, by veils of soot and repaint.
As well seek the brilliant tints of noon day, in the view of na-
ture seen under the last effects of dying twilight. Such is the
first hopeless impression, but patient and careful study may
penetrate the mist, when it will be seen in the first place that
it has been coloured by the guiding precepts of the Tuscan school
and as brightly as the frescos of the vault with which at one
time it was in harmony.
Such a number of naked figures it might naturally be sup-
posed, could offer little opportunity of a favourable arrangement
of colour, but in the first place there has been a rich glow of
varied flesh tints from dark to fair, modified by chiaroscuro and
planes of distance, whilst amidst the masses here and there,
some figures are clad in lustrous, glistening draperies effectually
preventing monotony, the whole having at one time been re-
lieved against sky rivalling in its blue that which hangs over
Italy. However dismal and dingy now, at one time the brightness
of the upper part of the picture was enhanced by contrast with
the twilight over the earth giving up its dead, and the lurid
flames or deep shades of the place of torture.
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AND HIS WORKS 429
Such was once the effect of colour of the fresco of the last
Judgment.
In pictures of the same subject by the old Masters the chiaro-
scuro was preeminently ideal. This was the result of simplicity
on their part and an imperfect comprehension of the effects of
nature, rather than of any poetic inspiration. The aerial beings
they painted so full of light and with such an absence of shadow
did not seem out of place in the region of iridescent cloud, re-
fulgent gold or celestial blue which typified heaven to their
ingenuous fancies.
Michelangelo however was now living in an age of artists
whose art was distinguished by its truthful and powerful effects
of chiaroscuro; thus he followed the realism which prevailed,
rather than the ideal treatment of the primitive schools. The
figure of Christ is represented in the strong light and shade,
and concentrated effect obtained in the Studio, shadow not light
preponderates. How different this is from the idea of the old
Masters, who represented Christ as himself the source of light.
But as he is uttering his sentence of condemnation, it may be
thus that the artist expressed the idea that his form and visage
were darkened as he turned to the miserable and helpless objects
of his wrath. Whatever the meaning, the chiaroscuro throughout
the upper part of the picture is so realistic that the solid beings
who have gone to heaven and who stand upon rolling vapours
and an unsubstantial floor of cloud, suggest in a manner never
done before, although many times afterwards, a contest between
the real and the ideal, which is entirely unsatisfactory.
It has been shown how completely Condivi and Vasari erred
in their statements regarding the retouching of the frescos of the
vault of the Sixtine Chapel with distemper colour and that these
have been extensively and very carefully retouched and streng-
thened by this system.
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430 MICHELANGELO
It is easily seen on close examination that the fresco of the
last Judgment is also much retouched in distemper colour; sha-
dows in various parts are deepened by this process, but the
colour is nol; laid on with the caution and softness so observable
in the first paintings, but with a splash and affected display
alien to the dignified character of Michelangelo's work. It has
been already noticed that the fresco of the last Judgment is
executed with more facility, it may be said with more mature
skill than Michelangelo's first works. Thus he would obtain
more certain results especially of depth of colour and conse-
quently would be much less under the necessity of falling back
on distemper painting tp strengthen and unite his work.
There is .however a great amount of retouching easily obser-
vable on close inspection of the surface of the fresco, and as
this fact is inconsistent with perfect success in the first process,
it may be held, especially in connection with the flaunting way
in which it is applied, that part of it has been done at a later
period by an inferior artist or restorer.
The surface of the picture has been in fact repainted in many
places, there are the draperies by Daniel da Volterra and besides
there are various instances of repairs, in some cases made with
oil paint, which has darkened and is now seen in spots disfig-
uring the surface of the fresco.
Whilst there is so much evidence of retouching, there is also
no question that Michelangelo also made use of distemper in
finishing parts of the picture. It is suggested that having more
experience, than when he painted the vault, he had no occasion
to employ this remedial method so extensively as in his earlier
work, but that he made use of it to a moderate extent only
according to prevalent usage.
One of the instances of its use is curious. After the work was
dry he observed a gap in the composition and he dashed in two
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AND HIS WORKS 431
heads in little more than outline, with a purple red in distemper,
one of these remains as a blue face, it was put in on the blue
sky and carried no further.
The picture is in a lamentable state and the injuries on its
surface would supply matter for description which would fill
many pages. As they are surveyed the impression which they
make is that any successful cleaning of this great work of art
is hopeless. It is in a worse state than the pictures on the
vault, being more within reach it has been more subjected to
restoration, or whatever the processes which it has undergone
may be termed. It would probably clean very unequally and
any attempt to bring it together again would necessitate farther
retouching always to be deprecated.
It is a painful fact to record, but the cruellest injury from
which the fresco has suffered has resulted from the culpable
action of the Chapel Officials. It having.been determined that
an altar piece of tapestry should be erected, the frame work
necessary for its support, instead of being fixed exclusively to
the back of the altar, which operation required little mechanical
skijl, is secured by iron brackets barbarously and brutally in-
serted into the fresco just below the group of summoning angels.
Besides this unjustifiable deed, the so called Church -decorators,
— it would be easy to find a fitter term by which to describe
them — have been allowed for years to place their ladders
against the surface of the painting so as to injure it in the most
disfiguring manner possible, and this in the Chapel of the Pontiff
and his court; this to the work of Michelangelo!
In conclusion some remarks may be made upon the length
of time which Michelangelo required to paint this extraordinary
work.
It contains three hundred and fourteen figures, counting heads
and most of them are heads or heads and shoulders only. The
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432 MICHELANGELO
joints in the plaster, by which each day's work may be reckoned,
are much more visible than in the frescos of the ceiling, where
they are so concealed as to be observed with difficulty. They
run round the figures and frequently, according to Michelangelo's
wont, include portions of the back ground. Thus in the present
state of the fresco these lines are readily seen on the surface like
those in a child's puzzle.
In his day's work, Michelangelo, when it was desirable, inclosed
parts of adjoining figures. For instance a prominent group to
the right of the picture is an angel bearing up a soul, which a
demon grasps by the ankles by means of a snake bound round
them. The group is rather above life-size. The head and
shoulders of the angel and what is seen of his drapery and arms,
the head and shoulders of the soul and his pendent right arm
were painted in one day with a considerable piece of back-
ground. The body and legs of the soul were painted on the se-
cond day. The whole of the work is of the most careful and
finished description.
Whilst Michelangelo could, if he chose, execute an entire
figure in one day, his usual practice at this period of his life was
to paint a nude figure larger than nature in two days. Nume-
rous instances of this extraordinary rapidity are observable in
the fresco of the last Judgment.
As he was occupied from the spring or summer of 1535 till
the Autumn of 1541 upon this great work, it is quite evident
that he painted with long intervals of repose. Could he have
painted daily, without interruption, and with his sketches and
Cartoons all prepared, by the evidence of the picture itself, he
could have executed it in a year. There is a remarkable letter
of Michelangelo, written many years before, that is in July 1523,
to his friend Bartolomeo Angelini when being a much younger
man he says of himself: «I have much work to do and I am old
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FIGURE
PROM THE FRESCO OP THE
LAST JUDGMENT
PLATK 16.
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^
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AND HIS WORKS 433
and unwilling, so that if I work for a day I mast rest for four. » l
If at that period of his life such was his account of himself, it
agrees with the opinion already expressed, and which is sup-
ported by the evidence of his paintings, that he worked at in-
tervals with marvellous energy and miraculous rapidity and
then rested from his labour, not that he was then idle ; such an
intellect as that of Michelangelo never could be idle, but his
body needed rest after his great efforts. When more than sixty
years of age his intervals of rest must have been more frequent
and of longer duration, which may account for the difference
between the evidence offered by his work and the statements
of his biographers.
The fresco of the last Judgment presents so extraordinary a
contrast to the early religious representations of the great artist,
which, unlike it, are remarkable for tenderness of feeling, and
the entire absence of all display of himself and of his facility,
that it is an interesting question, what could have induced so
great a change of sentiment on his part of the province of art
• in its relation to Christianity? The distance which separates
the tender sorrowful Mother and her dead Son, of the group
«the Pietk,» from the youthful Jove and the stalwart indifferent
matron who sits beside him and makes no sign in the last Judg-
ment, cannot be measured. The first is full of the love and
mercy of christian doctrine and precept, the second is utterly
without either.
When first required to paint in the Sixtine Chapel, the mind
of the artist must have been in a special manner directed towards
the study of the old Testament, to the Mosaic account of creation,
to the characters and attributes of Prophets, and the typical
events — according to accepted belief — of future woe and re-
tribution. He was called upon to design and paint mighty and
1 Buonarroti Archives. Letter to Bartolomeo Angelinl, July 1523. G. Milaneai, p. 420.
28
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434 MICHELANGELO
mysterious beings and his style under the influence of the thoughts
then engendered, assumed a corresponding mysterious grandeur,
as his countrymen say a «terribleness» fitted for his themes. A
change was thus wrought in his taste, which never subsequently
altered, and when in its turn he painted the picture of doomsday
his Christianity was darkened, as many men's has been, by his
contemplation of the older dispensation.
There can be no doubt that such ideas as are now entertained
of the real province of art in its representation of christian
subjects, were not present to his mind. His early works har-
monize with existing ideas, because notwithstanding his bias
they retain so much of the earnestness and tenderness of older
art which has so much influence on modern opinion.
It also is apparent that in painting the picture of the last
Judgment, he felt it to be necessary to harmonise the forms of
the beings which he represented, with th§ giants of the ceiling.
He invested the apostles saints and martyrs of Christianity,
with the same tremendous forms as the prophets and heroes of
Judaism.
There is in his fresco of doomsday a circumstance which removes
it further from sympathy than the frescos of the vault; he had so
come to trust in his own matured skill and power of representing
the human figure, that he had ceased to draw from nature, as he
did in his humbler days, when he so frequently acknowledged his
difficulties in the novel art of painting. The figures of the vault
with all their elevated and noble idealism have a humanity
due to the artist's ceaseless reference to nature and careful study
from it, which arrests the sympathies in a manner unfelt, whilst
dwelling upon the figures of his later work, all evidently drawn
without nature, and in the spirit of absolute confidence and of
the display of his acquired power. The school of which he is
the Master and head has even in his own day entered on its
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AND HIS WORKS 436
downward course, as every school at all periods of the history
of art invariably has done, when it abandons the study of the
only source of true greatness in the imitative arts. It is thus
seen that not even Michelangelo could abandon the study of
nature with impunity. Wonderful as the figures in the last
Judgment are for power of drawing, they are marked by same-
ness and monotony; all are of similar forms and for the most
part all seem to be of the same age. How different this from
the infinite variety observable in those of the vault, in which
the influence of nature is everywhere present, whilst in the
fresco of the last Judgment it is everywhere absent.
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Chapter XVIII
JNTosrio Piccone da Sangailo whose genius and
whose works place him amongst the first archi-
tects of his own or of any later age, completed
the Pauline Chapel about the time when Michel-
angelo finished his fresco of the last Judgment.
Pope Paul who gave his name to this beautiful Chapel was de-
sirous that it also should be painted in fresco by Michelangelo,
on one side with a picture representing the crucifixion of St Peter
and on the other the conversion of St Paul. The great artist
was however much more desirous of fulfilling his long delayed
engagement to the Duke of Urbino. No doubt he must have
reflected that at the age to which he had now attained, he could
have no hope of finishing the monument, if he was again pre-
vented doing so by another commission, which must occupy
some years. He therefore earnestly opposed a new diversion of
his time from the performance of a duty, which had been so
solemnly guaranteed, and which the courtesy of the Duke had
made more than ever binding on his sense of honour.
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438 MICHELANGELO
But Paul was possessed by the same selfish spirit as his pre-
decessors and with the same indifference to the personal feelings
of the gifted man whose talents he wished, as they had done, to
monopolise. It is to his credit, as has been already observed,
that his object was not in the same sense, the celebration or
record either of himself or any member of his family, but it
was equally marked by a similar disregard for the rights or
feelings of others, for the sentiments of Michelangelo, or for the
memory of his great predecessor on the pontifical throne. The
successors of Julius were consciously or unconsciously the abet-
tors of a measure of poetical justice, for that Pope when he or-
dered the destruction of the ancient Basilica of St Peters ruth-
lessly demolished, through the reckless instrumentality of his
architect Bramante, eighty-seven tombs of his predecessors.
The arrogance, selfishness and vandalism, which could thus act
and propose to erect his own unparalleled monument in the
desert which he thus created, were portentous, and merited the
fate which befell his project for his own glorification.
The Pope, finding Michelangelo opposed to his plan for the
painting of the new Chapel and bent upon resuming his work
on the monument, lost no time in again using his influence with
the Duke of Urbino, nor did he overestimate it for his Excellency
thus wrote to the anxious artist:
Urbino, 6th March 1542.
« Very excellent Messer Michelangelo,
His Holiness, having deigned to inform me, that he is very
desirous of availing himself of your services for some time in
painting and decorating the Chapel lately erected in the Apo-
stolic Palace, and I, feeling it to be a duty and a satisfaction to
render a service to His Holiness, assure you that you may fireely
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AND HIS WORKS 439
attend to his wishes, provided that you place on the monument
to the sacred memory of Julius, the three statues entirely finished
by your own hand, including that of Moses, and that you perfect
the work according to the last contract, as I have been assured
that you have readily and willingly offered to do. As to the
other statues you may have them executed by any good and
praiseworthy Master with your design and oversight.
In entire confidence that in your goodness and regard for the
sacred memory, as well as for all my house you will succeed
and will so conduct the work, that it shall be in every way
worthy of your reputation and that I shall have every reason
to rest satisfied, I shall be greatly obliged to you, this result
being attained and offering you my friendly services, may God
preserve you.*1
This amicable letter admits an important modification of Michel-
angelo's agreement to provide six statues executed by his own
hand including that of Moses, and at the time that it was written,
there can be no doubt that two others were advanced towards
completion in his workshop. It was therefore favourable to
him in his present state of mind, when oppressed with work and
growing ill health he knew, that he was no longer able to prose-
cute a monument in which at an earlier period of his life he
had taken so deep an interest. There can be no doubt that he
felt deeply the interruptions made by arbitrary power, and on
one occasion he was moved to tears by the unscrupulous inter-
ference of Leo. The time had now arrived when it was a relief
to him to be set free. The Duke's reply also left him without
ostensible motive for declining the commission to paint the fres-
cos, njiilst he must have been aware that they would occupy
some years in the execution, and he had reached his sixty-se-
1 Published by Gaye. V. n, p. 889.
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440 MICHELANGELO
venth birth -day. He therefore felt that an effort must be made
to complete the monument, or he might never see it achieved,
and he petitioned the Pope in August, to approach the Duke
once more, with a scheme for a very slight modification of his
last proposal, and that he should be permitted to hasten the
work by absolving him from the necessity of personal labour and
by employing artists, whom he suggested might be paid by money
in his hands, not only as already agreed to, but further to finish
all the statues. The two statues of Leah and Rachel represent-
ing Contemplative and Active life, were so nearly finished that
a little work under his direction would suffice. He offered to ,
deposit in a Bank, to be named by the Duke, eleven or twelve
hundred crowns, or whatever sum might be necessary to pay
the sculptors to be employed ; « and thus his Excellency may
feel certain that the work will be finished, knowing where the
money is lodged with that object and he may through his agents
expedite the monument, which is much to be desired, Messer
Michelangelo being very old and occupied with work of such
duration, that he may not live to finish it, much less any ad-
ditional. » Michelangelo's motive for urging a new convention is
here made clear for he goes on to say that so « he will be entirely
free and will be enabled to serve and to satisfy the desire of His
Holiness, whom he beseeches to write to his Excellency in these
terms that he may grant authority to free him from any contract
and obligation between them. » Michelangelo in fact ceased
from this time to resist the will of the Pope; he had through
many years of his life struggled to fulfil his contracts with the
family Delia Rovere, he now finally yielded for he could not
serve them and serve the Pontiff also. In an interesting portion
of the petition, he refers to the changes which had been made in
the design. « There remained for him to provide three statues
by his own hand that is a Moses and two prisoners: the which
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AND HIS WORKS 441
three statues are almost finished, but as the two prisoners were
made when it was intended that the monument should be much
larger and should contain many more statues, and it having
been much reduced in the above mentioned contract, therefore
they are unsuitable for the present design, nor can they be made
fit for it in any way. Consequently the said Messer Michel-
- angelo, not to be wanting to his word, began two other statues
to be placed on each side of the Moses, representing Active and
Contemplative life, which are far advanced, so that they may
be easily finished by other Masters. »1
It is strange that neither the Duke nor his agents presented
any claim to the two fine statues of prisoners, which they might
have urged with reason had been paid for, but it would be a
hopeless task to attempt to fathom all the mysteries of the trans-
actions regarding the monument of Julius.
The results of Michelangelo's petition and proposals were
favourable, and on the twenty- second of August 1542 a final
contract was prepared, the Duke being represented by his Ambas-
sador Girolamo Tiranno. This document is especially interesting
as containing a testimony to the industry and efforts of Michel-
angelo to fulfil his contracts, which does not appear elsewhere.
The following is the passage: 2 « The Magnificent Messer Hier-
onimo Tiranno, in the name of the Illustrious Duke of Urbino,
assigns to the Master Raphaello da Montelupo, Florentine sculptor,
five statues to be finished for the said monument and which had
been blocked out and almost finished by the aforesaid Messer
Michelangelo, the which are, videlicet, our Lady with the Child
in her arms, a Sybil, a Prophet and an Active and Contemplative
life, the which statues the said Master Raphaello has to deliver
i National Library, Florence. Republished with the Letters of Michelangelo, edited
by Gaetano Milanesi, 1875, p. 485. It is dated the 20th of July 1542.
» Buonarroti Archives. Edited by Gaetano MUanesi, p. 747.
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442 MICHELANGELO
finished in the room, where they are, in the house of the said
Michelangelo Buonarroti, in whose service he is to be, and in
twenty months reckoning from this day. »
This is very distinct evidence that Michelangelo had carried
on five statues, two of which he himself describes as far ad-
vanced, and as Montelupo undertook to complete all the five in
twenty months, four months only to each statue, all of them must
have been nearly ready for finishing, thus it is evident that after
the death of Clement, Michelangelo made a great and worthy
effort not « to be wanting to his honour.* *
The contract above referred to, set Michelangelo free, on the
understanding that he was to deposit one thousand four hundred
crowns in the Bank of Messer Silvester da Montauto and com-
pany of Rome, in the name of and to the credit of the Duke,
for the completion of the monument, « Messer Michelangelo on
his part was not to remove any portion of the money except for
the daily expenses needful for completing the work, amounting
to eight hundred crowns to Francesco d' Urbino who had been
paid three hundred, these eight hundred being for the erection
of the part (of the monument) above the basement, that is the
ornament which remains to be done, and which was to be paid
at a daily rate according to the amount of work, and five hun-
dred and fifty, which Raphaello da Montelupo, sculptor, was to
have, of which he had received one hundred and five. Which
five hundred and fifty are for providing five statues, which he
is to finish for that prige, which statues are, one of our Lady
with the Child in her arms now entirely finished, * one of a Sybil
and one of a prophet, one of Active life and one of Contempla-
tive life, blocked out and almost finished by the hand of Michel-
1 His own words in nil petition to the Pope.
* In gnide books this group is attributed to Seherano da Settignano whereas it was
commenced by Michelangelo and completed by Montelupo and is to be ranked amongst
Michelangelo's works.
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AND HIS WORKS 443
angelo, which statues Master Baphaello will go on with daily.
And besides fifty crowns to be paid to Francesco d'Urbino to
carry the said statues to San Pietro in Yincula where the said
monument is commenced, and the statue of Moses which is to
be placed in the work will be delivered at the cost of Messer
Michelangelo. »*
This document is an additional proof that Michelangelo had
nearly finished, the two statues of Active and Contemplative life;
it indicates that he must also have carried the Virgin and Child
far on, for it is now on the twentieth of August stated to be
almost finished only a month after the date of Michelangelo's
petition to the Pope, but this is accounted for by the fact that
in the previous February, he had formally employed Montelupo
« to finish three statues in marble, larger than nature and blocked
out by my hand, which figures are to be finished in eighteen
months. » Amongst these three were certainly the Active and
Contemplative life and evidently also the group of the Virgin
and Child. By his contract made with the aid and counte-
nance of Clement, Michelangelo was quite justified in this em-
ployment of an assistant before that of the twentieth of July
was agreed to.
The statue of Moses was to be touched by no one but the great
Master himself. It is remarkable that the reclining statue of
Julius in the centre of the upper part of the monument is not de-
scribed at all. It is incredibly bad, a mere caricature of the Pope ;
there is one expression which apparently indicates that it was
executed at the same time as the other statues, for in the con-
tract with Raphaello da Montelupo and Francesco d' Amadore da
Urbino of the twenty-fourth August the following passage occurs,
« and the said Francesco binds himself and promises that Mes-
1 Buonarroti Archives.
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444 MICHELANGELO
ser Michelangelo shall retouch the face of the statue of Pope
Julius which is on the monument and the faces of the terminal
figures. »
These works therefore were erected in Michelangelo's time
and under his direction, and whatever the demerits of some of
them, must be assigned to him in the same sense in which frescos
in the Farnesina painted by Giulio Romano and other Pupils
are assigned to their master Raffael.
The terminal figures were carved by Iacomo del Duca, an
assistant of Montelupo, as he himself states in his contract with
Michelangelo of the twenty-seventh February : « I have received
ten crowns from Urbino on account of four heads of Termini
for San Pietro in Vincula, which have been done by Iacomo, my
assistant.* It may be as well to say also that the coat of arms
on the monument was the work of Battista son of Donate Benti
of Pietrasanta, who contracted with Urbino to execute this orna-
ment of one piece of marble for thirty -six crowns.
In the preceding month of May, Michelangelo had employed
« Giovanni de'Marchesi, mason, and Francesco di Bernardino
d'Amadore, called V Urbino, » to build the whole of the archi-
tectural part of the monument, except ornament to be placed
over the cornice, which Michelangelo was to erect at his own
expense. In case of dispute Messer Donato Giannotti was ap-
pointed referee, but so hot a contention arose, that he was unable
to settle the quarrel, and Michelangelo's personal interference
became necessary. He appointed Messer Luigi Del Riccio as
an intermediary and wrote the following letter:
« My Dear Messer Luigi. Your Signory is appointed to settle
this discord which has sprung up between Urbino and Master
Giovanni, and as you have no personal interest you will judge
fairly. To do good to them both, I gave them the work which
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AND HIS WORKS 445
you know of. Now because one is too avaricious, and the other
is not less foolish, such a dispute has risen, that some great
scandal of stabbing or death may occur between them, and should
anything of the sort take place I should grieve for Master Gio-
vanni, but much more for d'Urbino for I brought him up. There-
fore it appears to me most reasonable, to discharge them both
and to leave the work free that their folly may not ruin me,
whilst I may carry it on. It has been proposed that I should
divide the work giving part to one and part to the other, this
I cannot do and to give it.... * to one only I should then injure
him whom I did not employ. Therefore I think that there is
no plan but to leave it free, so that I can go on with it. As
to the hundred crowns which I gave them and the amount of
work done, let them settle that between themselves, so that I may
be no loser. I beg your Signory to do what you can to bring
them to an agreement, for it will be a work of charity. Should
either of them pretend to have done by himself the little which
has been done and to have a claim for further payment, I shall
be able to show that I have lost a month's time by their igno-
rance and stupidity, that the work for the Pope has been de-
layed, a loss to me of two hundred crowns, so that I shall have
claims against them, rather than they against the work.
Messer Luigi I have made this discourse to your Signory in
writing, for if I speak of it in presence of the men, I shall burst
out upon them so that I shall have no more breath left to talk
with.*2
Michelangelo was frequently unhappy in his choice of assis-
tants. He had a warm regard for d'Urbino, who was however
of mediocre capacity, and on more than one occasion behaved
1 The paper is torn.
* Buonarroti Archlm. July 1642. Qaetano MUanesl, p. 464.
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446 MICHELANGELO
very ill, and this time without consideration for his master's in-
terests, but in the most selfish and absurd manner disputed
with Giovanni de'Marchesi da Saltri the mason, with whom he
was associated in erecting the monument, as to which of them
had done most work. Three Master builders were called in to
settle this important quarrel, but their decision that the amount
of work of each was equal, did not satisfy the litigants, hence
the application to Luigi del Biccio, who settled matters between
them in June 1543, the following new arrangement being made:
«That Francesco d'Urbino shall devote himself entirely to the
said work, exercising all his skill and ingenuity upon it exclu-
sively.... and that he is to hasten it so, that it shall be ready
for Christmas.... Master Giovanni is to be freed from it, is to
have no share in it, but he may at his pleasure go and see the
work going on and that the orders of Urbino are carried out.*1
It seems extraordinary after what had taken place, that so
imprudent an arrangement as this should have been made, but
it is entirely in conformity with the Italian habit of temporizing,
apparently as prevalent then as it is now.
Raphaello da Montelupo went on industriously with his work,
but the Duke of Urbino delayed sending the ratification of the
last contract, so that Michelangelo, becoming uneasy, wrote to
Del Biccio in October 1542:
«Messer Luigi, dear friend. I am much pressed by Messer
Pier Giovanni, a to begin to paint, but as may be seen for four
or six days, I cannot do so, for the rough plastering is not dry
enough to allow of my making a beginning. But there is one
* Buonarroti Archives.
* AUotti Bishop of Foril, whom Michelangelo nicknamed < Tantecose. >
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AND HIS WORKS 447
thing which annoys me more than the plaster, and which not only
prevents me painting but dispirits me. I know that the Duke has
given me his word, but the ratification comes not. I have torn
from my very heart, one thousand four hundred crowns, which
would have lasted me for seven years of work, with which I
would -have made two monuments, instead of one, and this I did
to be left at peace, and to give my whole heart to the service
of the Pope. Now I find myself minus the money, and with
more troubles and more warfare than ever. That which I did
regarding the money, I did with the consent of the Duke, and
with the contract which freed me, and now that I have disbursed,
the ratification does not come: it is easy to see what this means
without writing it. It is enough to say that for my honesty for
thirty-six years and for having sacrificed myself voluntarily to
others, I merit nothing else,: painting, sculpture, labour and trust
in others have ruined me, and now it goes from bad to worse.
It would have been better for me, if in my early years I had
given myself to make sulphur matches, I should now suffer less!
I write this to your Signory as one who wishes me well and who
managed the affair and knows the truth, and who will make it
known to the Pope, that he may be aware, that I can neither
live in peace nor paint, and that if I held out a tope of be-
ginning to paint, I gave it expecting to receive the ratification,
which ought to have been here a month ago. I will no longer
rest under this load, nor be abused ~every day as a swindler
by one who has taken from me life and honour. Death, or the
Pope alone can free me.*1
Yours
MlCHELAGNIOLO BuONAREOTI.
1 Buonarroti MSS. British Muaeum. Gaetano Milaneai, p. 488.
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448 MICHELANGELO
In this fervent letter Michelangelo pours out his feelings on
the subject of the Julian monument, expressed so often and in
so many ways, but never with more passion than at this time.
It seems strange that he should have thus distrusted the Duke
after the consideration shown him, but his mind was thrown
off its balance when the affairs of the monument were pressed
upon it. He again wrote to Del Riccio:
« I am determined, as the ratification has not arrived, to
shut myself up in my house, to finish the three figures as agreed
with the Duke, which will suit me much better than dragging
myself every day to the palace ; whoever is made angry may
be so. It is enough for me to have so acted that the Pope can-
not reasonably complain of me. For me the ratification is per-
sonally of no consequence, but it is for the satisfaction of His
Holiness, who insists that I shall paint. »
The ratification of the Duke came at last and progress was
made with the monument. It is to be presumed that the lower
part or first stage was completed by Christmas. The upper part
which differs from the lower entirely in style, is said to have been
completed in 1545, and it is apparent that Montelupo could
hardly have finished his work sooner.
Thus as Condivi writes « the tragedy* of the monument came
to an end. »
As might be expected from the perusal of its history, this
.monument regarded in its ensemble is an unsatisfactory work
of art. The architecture of the first stage designed by Michel-
angelo at an early period of his career is in the style of the
last part of the fifteenth century — the quattrocento — there
is no appearance of that disregard for accepted forms and
that aim to be original which afterwards characterised the Mas-
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AND HIS WORKS 449
ter; any other architect or sculptor of the time might have
designed it, so common place is its general aspect, and like
other examples of the early renaissance it is surcharged with
small and for the most part unmeaning ornaments. The ped-
estals of the socles described in the different contracts are re-
tained, although of no use after the abandonment of the statues
which were to be placed upon them. They had much better
have been removed altogether, but this not being done, they
are connected with the architecture above by reversed brackets
intended to conceal their inutility but signally failing to do so.
The terminal figures which support the entablature, always of
doubtful taste, are much increased in size as compared with
the original sketch and they consequently make the niches placed
between them look insignificant. The upper stage of the monu-
ment, which must also have been designed by Michelangelo
and was erected under his direction, is in his later and broader
manner and almost entirely devoid of ornament, presenting a
singular contrast to the profusely decorated lower stage. It must
be admitted that he showed a singular want of taste as well as
of sentiment in thus deliberately departing from the style of
the lower part of the composition when he might so easily have
successfully harmonized the two.
In building the first or lowest stage, either d'Urbino was ac-
cording to his wont careless, or the length of time which had
elapsed between the preparation of the blocks and their erection
had injured them. They do not fit well together. The cornice
especially shows deficient workmanship, is badly mitred and
betrays inexcusable neglect, considering the circumstances and
the conciliatory conduct of the Duke of Urbino. Of the statues
on the upper part, the group of the Madonna and Child is the
most pleasing, the figures of the Prophet and Sybil are compara-
tively weak and unsatisfactory. The contrast which these figures
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450 MICHELANGELO
present to those below is so great, that it is not to be wondered
at that his name is rarely if ever mentioned in connection with
them, but there is no escaping the conviction that he was the
Master who designed them, carried them so far, that it was
thought that four months each would finish them, whilst they
were completed under his direction. The recumbent statue of
the Pope, the face of which he was to retouch is ascribed to
Maso Del Bosco and is beneath criticism.
If Michelangelo had deliberately resolved to justify the com-
plaint of the Delia Rovere and of the friends of that powerful
family, he could not have taken more effectual steps to do so
than by the manner in which he completed the monument of
Julius, but this is lost sight of in the presence of the noble statue,
the work of the prime of his life and of four years of peace, which
sits in the centre of the facjade. It is this grand this unequalled
creation, even of his genius, which people go to see, and pro-
bably few think of the rest of the monument or fix any of its
features in their memory. Moses, the friend of God, the guide
and lawgiver of God's people, is represented by Michelangelo as
agitated by strong emotion. He is seated, but his attention is
roused by something which startles him and stirs him, he grasps
his robe with one hand, with the other nervously clutches his
ample beard, and is about to spring to his feet, but pauses for
an instant, whilst he gazes on the objects of his displeasure
with a look in which indignation and contempt are mingled,
yet which might be changed into a glance of compassion.
Language must fail in any attempt to convey any true idea of
the sublimity of this great work of sculpture, that it places Mi-
chelangelo far above all modern professors of his art is unde-
niable whilst it entitles him to a niche on an equal level with the
greatest sculptors of the ancient world, although his art is so
different from theirs, as different in form, as in aim and subject.
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AND HIS WOBKS 451
The detail of the execution is very elaborate, especially that
of the drapery which is arranged with the greatest attention to
insure graceful lines, the folds being managed with exquisite
taste and skill, so as to show the body beneath, in which are
combined the appearance of great physical strength with beauty
of shape, the latter approximating even to delicacy and refine-
ment, of which the feet especially are examples.
In contemplating this noble statue with all the attention which
it merits, there is a natural temptation to compare it with those
of classic times; but, as is the case with all the productions of
the period to which it belongs, there is one quality amongst
others which separates it absolutely from the grand productions
of Greek art, and that is its picturesqueness. There is a pictorial
element ever present, in the sculpture of the renaissance, which
is never seen in Greek art, either of the period of Greek inde-
pendence or of that of Roman domination.
The group of the Laocoon, that of the so called Paetus and
Arria, or the statue of the dying gladiator, are the nearest ap-
proaches made by the sculptors of the ancient world to modern
ideas, the last especially is perhaps of all works of ancient sculp-
ture the most popular now, by reason of its truth to nature in
form and expression, still there is a gulf between all these and
the sculpture of the renaissance.
Neither in the admirable portrait statues by Greek artists,
full of realism and truth to nature, is any type to be found of
the sculpture of Michelangelo and his greatest compeers. Tullio
Lombardo alone approaches nearly to the ancients, for his object
was to imitate them as closely as possible, yet it would be impos-
sible for any one, familiar with the productions of the two epochs
to confound them. It is well, that it is so. The art of the renais-
sance, whatever it may owe to the study of Greek art, is a new
creation and it is that, which it is most important to ^appreciate.
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452 MICHELANGELO
There is one important distinction between the sculpture of
the two periods; which keeps the one far apart from the other
in stjle^ as in time. It is evident that the artists of the Renais-
sance; including Michelangelo, knew nothing of the subtle numer-
ical proportions which are believed to have regulated the Greeks,
in the production of their statues. The Sculptors of the Re-
naissance not only vary from each other in the proportions
observable in their figures, but the same sculptor frequently di-
versifies them in different works by his own hands. On the
monument of Julius the two female statues so often alluded to,
differ essentially; the one measures seven and a half; the other
nine heads. The one is a short broad womafl, the other has too
small a head for her body and limbs. There are such differences
in nature but as they are not beauties they are not to' be followed
in art. It is impossible to suppose that either Michelangelo or his
compeers worked entirely without a belief in some general for-
mula; yet the discrepancies in the proportions of their statues are
striking. Thus forgetfulness of such safe and useful general laws
are visible in most of the works which Michelangelo did not com-
plete. One of the prisoners for the monument of Julius which
has been left unfinished; is evidently very deficient in the pro-
portions of the neck and head; and owing to miscalculation; there
is not marble enough left for the right arm. Whilst the head
of the David is manifestly large for the rest of the statue; that
of the Victory is small and deficient in cranium.
In his old age when his inspiration began to fail and probably
his sight; defects of proportion became still more apparent; es-
pecially observable in the group of a descent from the cross now
in the Cathedral of Florence. The figure of the Saviour is too
large for the others, that of the female much too small. He
broke and defaced this group with his mallet, and a pupil sub-
sequently mended it and patched it with cement. He had better
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AND HIS WORKS 453
have left it as Michelangelo did, he was a better judge of it
than his pupil. There is another dead Christ with two figures,
in the court of a palace in the Corso in Rome; portions of the
dead body are finished and are admirable, the other two figures
he has so hewn away, and so disproportioned, that to complete
them was impossible. These facts either indicate the absence
of definite laws of proportion, or forgetfulness of them, while
they prove that the system of working without full size models
is very unsafe even with great practice.
It seems almost incredible that any portions of the noble statue
of Moses should have been left unfinished. It may be justly
thought that it was calculated in a special manner to enlist the
interest and amour-propre of its creator, whilst the expressions of
trust and confidence written by the Duke of Urbino, were further
motives to complete it in the most careful manner. Nor was time
wanting, especially when it is considered how little was needed
to remove every deficiency. Still it was left unfinished in the
following parts; the drapery on the left thigh, both the hands,
part of the neck on which marks of the toothed chisels are seen,
part of the hair, and the horns, on which criticisms are frequently
made hardly to be considered of value, as in their unfinished state
it is impossible to say what Michelangelo meant to make of them.
Placed as the statue is on a plinth only two feet high, it would
have been easy for Michelangelo to finish every part of it with
his own hands. He was bound to do so by many considerations,
especially by the conduct and expressed confidence of the Duke
of Urbino, as well as by the obvious desirableness of giving no
cause of complaint. He afterwards undertook a work in sculp-
ture for exercise and the benefit of his health, he was therefore
able to use his chisels although so advanced in years. Complaints
were renewed and unhappily he had reason to feel that « the tra-
gedy of the sepulchre » was not over.
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454 MICHELANGELO
The difficulties with the Duke of Urbino being settled, Michel-
angelo devoted himself to the frescos of the Pauline Chapel,
which as shown by his letter to Del Riccio he commenced in or
after October 1542, when the arricciatura or rough plaster was
sufficiently dry to allow him to do so. l 1543 is very barren of
letters, probably his time was principally occupied painting in
the Pauline Chapel, and watching over the works for the mon-
ument of Julius.
In June 1544 he fell dangerously ill and by the care of his
friends was removed from his own comfortless house to that of
the Strozzi, where he was carefully tended by Luigi Del Riccio.
Daily inquiries were made for the invalid by messengers from
the Pope and from all who were distinguished in Rome. Roberto
di Filippo Strozzi then at Lyons in whose house Michelangelo
lay, wrote to Del Riccio making friendly and anxious inquiries
as to the health of his patient.
Del Riccio on the part of Michelangelo thanked him saying
that he was better and able to walk about the apartment and
added:
« He begs that you will send him some news, and remind
the King of his message by Scipio and subsequently by Deo the
Courier, that if his Majesty would restore the liberty of Florence,
he Michelangelo would make a bronze equestrian statue of him
without cost to any one and would erect it in the Piazza della
Signoria. »
Michelangelo showed his love for his country by sending this
message to the King; but like ail his countrymen he overlooked
the fact that such foreign intervention only led to change of
master, not to liberty.
1 Buonarroti MS. British Museum. Gaetano Mllanesl, p. 488.
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AND HIS WORKS 466
Leonardo Buonarroti, Michelangelo's nephew, when he heard
of his Uncle's illness hastened to Borne to see him and received
the following letter, which it may be hoped was not deliberately
written but under the influence of his malady:
«Lionardo,Ihave been ill and thou, at the suggestion of Giovan-
francesco, hast come here to kill me and to see if I leave any
thing. Hast thou not enough of mine at Florence to satisfy
thee? Thou canst not deny that thou art like thy father, who
in Florence drove me from my home. Know that I have made
my will in such a manner that thou needst not to think of what
I possess in Borne. Therefore begone with God, and do not
present thyself to me, nor write to me more, but act like the
priest:*1
MlCHELAGNIOLO.
Dated thus by Lionardo: «1544. Eeceived the 11th of July
in Borne. »
It is to be lamented that Michelangelo who attached so much
importance to noble descent and high position could so far forget
himself, as to express himself in a manner unworthy of either,
such a letter seems unbecoming and no doubt was so, but he
had been through life plundered by selfish relatives. There was
nothing in the home of his childhood to make its remembrance
pleasant, his mother is never alluded to, his father was violent
unreasonable and sordid, his brothers greedy and careless of the
family honour, Michelangelo generous to a fault to them all, met
with no return of love or gratitude from those on whom he
bestowed so many benefits with an open hand. It may be feared
1 Buonarroti Archives.
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456 MICHELANGELO
that his nephew who owed all to him, resembled other members
of the family, but his visit to Rome at such a time was obviously
a duty.
It was not only to his relatives that Michelangelo showed the
warmth of his temper. The following extraordinary letter was
directed to his friend Del Eiccio to whom he was so much in-
debted and to whom he was undoubtedly warmly attached. It
is without date, nor is his reason for writing it known:
« Messer Luigi. You suppose that I shall reply as you wish
but it may well be to the contrary. You give me that which
I have requested. Truly you do not sin in ignorance sending it
to me by Hercules, being ashamed to give it to me yourself. He,
who has snatched me from the grave, may censure me, but I do
not know which weighs most upon one, censure or death. In
short, I pray and conjure you by the true friendship existing
between us, that you destroy that print and burn the other im-
pressions, and that if you make a profit of me, you will not m&ke
others do so likewise : if you make of me a thousand pieces, I
will do as much, not of you, but of your affairs. »
MlCHSLAGKIOLO BUOKAKAOTI
Not Painter, Sculptor or Architect,
but what yon will,
but not a drunkard, as I told you at home. *
This wild letter to a man to whom he was sincerely attached,
is incomprehensible. Happily the friendship was renewed, but
such outbursts must have led to permanent estrangements. His
temperament may be compared to the summer-skies of his na-
tive Italy, for the most part bright and serene, diffusing light
and dispensing blessings, but suddenly overcast with black storm-
1 Buonarroti Archives from Borne 1546.
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AND HIS WORKS 457
clouds, bringing with them furious wind and thunder, hail and
rain. The « Temporale » as the Italians call it, vanishes as it
came, and calm is restored, but the disastrous effects of the tran-
sient tempest are visible long after, and some of them remain
for ever.
Although Michelangelo's bitter and violent letters occur more
frequently than could be wished, and from their nature must
have given great offence, still on the other hand there are many
more preserved, which show his kindly nature and warm heart.
Michelangelo was not exclusively occupied with the frescos
of the Pauline Chapel in 1544. The Pope since his elevation,
felt desirous of increasing the magnificence of the Farnese palace
commenced when he was a Cardinal. Antonio da Sangallo his
architect had carried it up two stories when the Pope expres-
sed himself dissatisfied with the design of the cornice, and re-
quested the opinion of Michelangelo who gave it without reserve
in the form of a report. Whether it was part of his duty to do
this as the Pope's official architect, or whether such a proceeding
was in conformity with usage, it is impossible to say; but that
one architect should report upon the work in progress of another,
in every way his equal, in some respects his superior, was emi-
nently calculated to foster that enmity then so common between
artists. It is impossible not to feel that Sangallo was ill used
and that Michelangelo should have declined such an office. The
report is entirely technical and, is of such severity as to overshoot
the mark. In it Michelangelo appears more as a rival, than a
critic. The design by Sangallo has disappeared and therefore
these remarks are based on his known reputation, his works
and on the utter improbability of his having made a design,
which as described by Michelangelo was defective in every par-
ticular, not having a single merit, and showing an ignorance of
proportion which would have been discreditable to an apprentice.
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458 MICHELANGELO
Having written so condemnatory a report, Michelangelo's next
step was still more unfortunate, for he consented to make a design
himself for the cornice of a palace of which his rival still was
the architect, and this under circumstances of a very singular
and undignified nature, as he agreed to enter into competition
with three designers altogether his inferiors in every respect,
Pierin Del Vaga, Sebastian Del Piombo and Giorgio Vasari then
a young man, who afterwards told the story. The Pope's pro-
posal of that competition savours of the nineteenth century, rather
than of the sixteenth. It took place however, no opportunity
being given to Sangallo to design another cornice; which adds
another element to the coarseness and injustice of the whole
proceeding. Michelangelo's victory in the competition has been
vaunted as if he had been matched with equals, which was not
the case.
The criticism, 1 written on Sangallo' s design for the cornice
of the Farnese palace, is entirely technical in its nature and
comprehensible only to those versed in the subject, but it has
this peculiar interest that it shows the nature of Michelangelo's
study of architecture and the progress which he had made since
his early efforts. He commences by quoting the authority of
Vitruvius, he then goes minutely into questions regarding the
general design and fitness of a- plan, insisting with much iteration
on the importance of each separately and in combination, and
he dwells with emphasis on the numeric proportions which the
parts should bear to the whole. On this subject in particular,
the remarks which he makes on his great contemporary are
such as with perfect justice may be applied to the details of his
own early attempt in architectural design, the Laurentian Li-
brary.
1 The original, written In the hand of Michelangelo, is in the possession of the Cava-
liere Giuseppe Palagi. Florence.
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AND HIS WORKS 469
Whilst thus severe upon others it is not to be forgotten that
he was a severe critic of himself. He has represented himself
as an old man in a child's go-cart with the motto « I still
learn. » No artist ever was more conscious than Michelangelo
of the necessity of ceaseless study. It never occurred to him
that the possession of aptitude, genius and such great faculties
as he must have known were his, placed him above this neces-
sity. Brought up to be a sculptor and preferring that art, and
refusing to admit that either painting or architecture was «his
profession » he mastered both these arts; painting with compar-
ative facility as he had been prepared for its practice in early
life; architecture by a long course of self instruction and obser-
vation in a hard school and under the necessity of obeying the
arbitrary will of a succession of Pontiffs, bent upon employing
him as an architect. There can be no doubt that at first this
was very distasteful to him and that he was made an architect
against his will, but when compelled to consider the pursuit of
architecture a duty, how admirable his conduct, how determined
his resolution to conquer difficulties, there is no finer episode in
the life of any artist, than Michelangelo's devotion to his duties as
engineer and architect in the quarries of Carrara and Serravezza.
The defence of the States of the Church and of Rome divided
the attention of Pope Paul with the decoration of the sacred
city. .He fortified Ancona and Civitavecchia and appointed a
commission of experienced military officers under the presidency
of his son Pierluigi Farnese to consider the defences of the
Leonine city, which in the time of Clement had proved to be so
inadequate, and had exposed the Papacy and Rome to such
deplorable calamities.
The commissioners were Alessandro Vitello an experienced
officer and Giovanfrancesco Montemellino an Engineer and of-
ficer of Artillery, Antonio da Sangallo was the architect.
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460 MICHELANGELO
The meetings of this commission were frequently held hi the
presence of the Pope who took a strong interest in their pro-
ceedings. The President Pierluigi Farnese and Montemellino
were strongly of opinion that the defences should be restricted
in their extent. Hence the erection of the Porta Santo Spirito
and the curtains and bastions still existing, between the Borgo
and that part of Trastevere, which runs along the skirts of the
Janiculum and parallel to the Tiber.
Pierluigi Farnese being elected Duke of Parma and Piacenza
left Rome, but did not cease to manifest the interest which he
took in the fortifications and he corresponded with the Commis-
sary Mochi whose official position enabled him to give him
information. By a letter of the seventh of September 1545 he
gave the following account of the condition of these important
works :
« With the exception of the magnificent Doric gateway and
the curtain extending to the river, the work is abandoned. » i
Michelangelo whose reputation as a military Engineer had
been established at Florence, was appointed one of the consult-
ing Architects to the Commissioners, Vasari does not Bay at
what time, but as he opposed the design for the walls projected
by Sangallo, it seems probable that his appointment cannot have
taken place at an early period of 1545 as these works were
carried on to a certain extent before he objected to the plans,
probably just before the letter of Mochi from which the above
extract is taken, which shows that some advance had been made,
but that operations were arrested in September.
At one of the meetings in the presence of the Pope, Michel-
angelo expressed his dissent from the plans of Sangallo, who
irritated by his opposition reminded him « that he was a painter
and sculptor but not a military engineer » to which mistaken
1 Amadio Bonehlnl. Fortifications .of Rome time of Paul III. V. i, p. 168.
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AND HIS WORKS 461
assertion he warmly replied, alluding to his well known services
at Florence. The dispute became so warm that the Pope abruptly
dismissed the meeting.
Michelangelo immediately prepared a plan to illustrate the
advice which he gave and to indicate clearly the errors com-
mitted by Sangallo, he submitted it to the Pope ; hence probably
the alteration in the works alluded to by Mochi in writing to
the Duke of Parma.
Michelangelo's labours were however interrupted by illness
in the month of January 1546 and the attack was so severe that
the report of his death was spread abroad and reached Florence
and his nephew Lionardo hastened to Rome to see him. The
attack must have been of a very serious and alarming nature for
Michele Guicciardini the husband of Leonardo's sister Francesca
wrote thus to Giovan Simone Buonarroti :
« Since I wrote to you, I had news from Niccol6 Buondelmonte
that Michelangelo was dead and that Lionardo had not arrived
in time, he being already dead, I leave it to you to think what
has been the effect of this news on Francesca. The same even-
ing I received a letter directed to me by Bartolomeo Rati, who
is in the shop of Francesco and Averardo Rati, by which came
information from Rome that the medical men had freed him of
illness. God grant that it be so. » *
This illness was short as well as severe. On the thirty -first
of Dopember he had written to Lionardo regarding the pur-
chase of a house, preferring that in the Via Ghibellina, and on
the ninth of the following January he again wrote:
« Lionardo. «I gave to Messer Luigi Del Riccio one hundred
crowns in gold, which will be paid to you in Florence, to complete
the sum of a thousand crowns promised you. Go to Piero di
Gino Capponi and they will be paid to you, Messer Luigi will
* The Buonarroti Archives.
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462 MICHELANGELO
write my mind to you, for I do not feel well and cannot write,
however I am cured, and do not suffer more, God be thanked :
thus I thank Him, do thou so likewise.
I am resolved besides this money to provide also for Giovan-
simone and Gismondo one thousand crowns each, three thousand
amongst you but in common, with this condition that the money
be well invested in something useful p to bring you an income
and to keep you at home. This letter is for you all and as I
have nothing more to say, God be with you.» 1
I MlCHELAGNIOLO BUONARROTI
Rome.
To my dearest Lionardo, as my son.
Florence.
It is pleasant to read this contrast to the letters quoted a few
pages back, the correspondence of Michelangelo is full of similar
generous and affectionate communications to his relatives.
1 The Buonarroti Archives. Published by Gaetano Milanesi, p. 185.
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Chapter XIX
ueing the illness of Michelangelo, being unable
to attend to the military works near Santo Spi-
rito^the following account of their progress was
written by the Commissary Mochi to the Duke
of Parma, in which full justice is done to the
magnificent gate designed by Sangallo, which had it been finished
would have been the grandest of which Rome could boast.
Rome, 4th January 1546.
«With regard to the fortifications of the borgo, the works
have .been stopped everywhere, except at the gate and found-
ation of the curtain at Santo Spirito, already laid as far as
the river. I think that we shall have the gate up and in a
defensible state by the end of April. As a Doric gate it is
superb and appropriately ornamented with columns, architraves,
friezes, with great mouldings and pinnacles, and on each side
of the archway are niches with colossal statues.
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464 MIOHELANQELO
Statues larger than life will be erected on the top, and mag-
nificent ornaments of novel design together with the arms of
His Holiness. Besides it will be a vigorous military work with
its shot-holes in front and on the flanks.*1
He then describes the excellent drawbridges. It is evident
however that his description was taken from the model or draw-
ings and not from the actual gate, as its present state shows
that it was not carried so far, whilst there is no reason to think
that any part of it was taken down.
Considered exclusively as a work of architecture, this gateway
is a monument of the genius, taste and learning of Antonio da
Sangallo. Its harmonious proportions, its grand massive details
so evidently designed with a view to the purpose it was to serve
as a city gate, may be accepted as evidence that the severe and
condemnatory report of Michelangelo upon his design for the
cornice of the Palazzo Farnese must have been unjust to San-
gallo's merits. It overshoots the mark in its severity, and is
rather the expression of the judgment of a rival, than of an
umpire. There is no architectural work of Michelangelo of a
similar class which shows a greater knowledge of the principles
of design, than this gate of Santo Spirito. The description of
Mochi proves that had it been completed, the decorations would
have been extravagant, considering its military use. Still it
was the custom of architects at that time and for some time
afterwards, to combine defensive and offensive military condi-
tions and details with columns, niches, statues, sculptured coats
of arms and pinnacles, more dangerous in reality to the garrison,
than defensive, in case of attack, and which a few shots would
have reduced to fragments.
1 Amadlo Ronchinl. «I1 Montemelllno di Perugia e le fortifioazionl dl Roma al tempo
di Paolo III, nel giornale di erudicione artistic*. Perugia, 1872, p. 166-67. »
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AND HIS WORKS 465
Michelangelo must have recovered from his dangerous illness
in February, for in that month it appears that he attended a
meeting of the Commissioners on the fortifications, to which he
alludes in a letter dated the 26th of February 1546:
<Monsignore Castellano. With regard to the model, about
which there was a difference of opinion yesterday, I did not say
all that was on my mind, as I am requested to do by your Si-
gnory, because I thought that it might offend those persons for
whom I have a great regard, including Captain Giovanfran-
cesco Molino, with whom in some things I do not agree. With
regard to the bastions which are begun, I think that there are
good and forcible reasons to continue them, especially as by not
doing so worse might come of it, for the variety of opinions and
models confuse and irritate the Pope, who thus may be able to
resolve on nothing, and so do neither one thing nor another,
which would be a serious misfortune and little for the honour
of His Holiness. I think that the works should be carried on, I
do not say as they are begun, but following the inclination of
the ascent, improving without injuring what is done with the
aid of Captain Giovanfrancesco. If, as is reported, the present
direction is changed and Captain Giovanfrancesco is appointed,
whom I hold to be skilful and honest in all things, this I
am willing to do, I offer myself for the honour of the Pope,
and if asked to do so I will act not as a colleague but as an
assistant.
From the Spinelli to Castello I would not make anything but
a fosse, for the covered way will suffice if it is repaired. » x
There must be at all times risk of error in expressing a pos-
itive opinion, where there are so few documents upon which to
1 The Bnonarroti Archives.
80
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466 mCHELANGELO
base it, bat this letter makes an unpleasant impression. There
is observable in it that dislike of Sangallo, which induces Mi-
chelangelo on a mere report to commit himself to an offer evi-
dently meant to replace him, whereas nothing was further from
the Pope's mind than his dismissal, for he continued in the ser-
vice of the Commissioners till his death in the autumn of the
current year.
After all, Michelangelo did not propose material changes, for
he evidently adhered to the opinions of the Commissioners, that
fortifications should be erected in the hollow near the Tiber and
thence upwards, as if the enemies most to be dreaded were the
Trasteverini and not a foreign foe, who would attack the city
not here, but from the Campagna, as happened even within the
present century.
Shortly after these events, Michelangelo received a gratifying
communication from Francis I, king of France, who, having
occasion to send the eminent Bolognese artist Francesco Fri-
maticcio, then in his service, to Italy, deputed him to procure
for him a work of Michelangelo, to whom he directed a letter
which Primatdccio was to deliver in person. If he could not
procure a work by Michelangelo himself, he was then to cause
copies to be made of the Madonna della Pietk, and the statue of
Christ in the Church of Sta Maria sopra Minerva.
Michelangelo on the twentyv-sixth April 1546 wrote the fol-
lowing letter in reply to that of king Francis:
€ Sacred Majesty. I know not which affects me most, the act
of grace or my surprise that your Majesty should deign to write
to such as I am, and still more to request a specimen of my
work. But however this may be, I am desirous that your
Majesty should know that I have long wished to serve you in
my art, but have not had the opportunity of doing so, your
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AND HIS WORKS 467
Majesty not having been in Italy. Now I am old and I am
occupied for some months by Pope Paul, but if after that, life
is left to me, that which I have so long desired to do, I shall
do my best to achieve. That is a work in marble, a work in
bronze and a painting. Should death interrupt this (Jesire, then
if it be possible to sculpture or paint in the other world, I shall
not fail to do so, where no one becomes old. » *
Death did intervene to put an end to the gratification of the
wishes of the art-loving Francis, but it was his own death,
which took place in May 1547. When Michelangelo wrote this
letter, the expression « some months* hardly represented the time
which he was to be occupied by the commissions of the Pope,
but he not unfrequently expressed himself in this sanguine way
as to the duration of his work, than which no stronger ex-
ample is recorded, than his belief at one time that he could
complete the sepulchre of Julius in five years,
Michelangelo's peace of mind was this year disturbed, as it
had been before, by the questions which arose regarding his
claims upon the ferry on the Po, near Piacenza.
These rights were first disputed by Beatrice Trivulzi, who
placed an opposition ferry on the spot, greatly to his damage.
This lady's claim being got rid of, the Commune of Piacenza
came forward, and was with no little difficulty, and by the
exercise of pressure, induced to leave the tormented Michel-
angelo in possession, but thereon, Baldassare and Niccol6 Pu-
sterlk brothers, came forward and instituted proceedings for the
recovery of their alleged rights to the ferry, which dated from
many years back. On the death of Duke Pierluigi Farnese on
the tenth September 1547, Piacenza passed under the power of
1 Buonarroti Archives.
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468 MICHELANGELO
Charles V, and Michelangelo's claims were finally disallowed,
and a source of income closed, from which he had derived very
little advantage and infinite vexation and annoyance.
The Pope, desirous of at least partly making up this loss of
income, offered him a Chancellory at Rimini, which, however, Mi-
chelangelo did not accept* Having become architect of St Peters
without emolument, he would accept of no annual payment which
might lead to misconstruction, but notwithstanding his disin-
terested conduct, he did not escape misrepresentation and his
malevolent enemy Bandinelli, as related by Vasari, asserted
that he declined the amount of revenue sent to him by the Pope,
but accepted it when doubled. This slander is incidentally re-
futed by the expressions of a private letter to his nephew Lio-
nardo, dated the tenth of August 1548, in which referring to a
purchase of land, Michelangelo remarks: «If there is an oppor-
tunity of an investment in an estate not more than ten or fifteen
miles from Florence, I would make it, for having lost the income
from the Po, I must provide a revenue which cannot be taken
from me. » *
The death of Antonio da Sangallo, which took place at Terni
in the autumn of 1546, led to important changes in the position
of Michelangelo and added materially to the extent of his work
and of his responsibilities. His influence became paramount
with respect to the fortifications, the Palazzo Farnese was at
once transferred to his care, but his appointment as architect
to St Peters was the highest honour and the most important
commission which could be conferred upon him. The Board
intrusted with the direction of the works hesitated as to the
selection of an architect, but Paul, guided, as Vasari expresses
it, by the Almighty, cut their deliberations short by nominat-
1 Letters of Michelangelo. Edited by Gaetano MUanesi. Letter lchi, p. 229.
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AND HIS WORKS 469
ing Michelangelo. It is a remarkable circumstance that on
this, as upon other previous occasions he objected to the ap-
pointment, renewing his statement that « architecture was not
his art. » No one could judge better than Michelangelo himself
of the difficulties which must be encountered in conducting the
erection of St Peters, not only in an architectural sense, but in
respect of the rivalries, opposition and intrigues which he must
encounter. He was now an old man, and his late illnesses made
him aware of the presence and progress of a dangerous and in-
sidious malady which must more and more unfit him for exertion.
The Pope however, whose confidence in him was unbounded; was
resolved that he should be the architect of the greatest church
in Christendom and Michelangelo yielded, on the noble condition
that his services should be gratuitous and dedicated to the honour
of God and His great Apostle St Peter. Apart from the devo-
tional feeling which guided him on this occasion there was also
wisdom in the resolution, because he was aware that even from
the commencement of the enterprise there had been much pecu-
lation and dishonest gain. Michelangelo was essentially upright
in character, he despised dishonest actions and by his refusal
of a salary he was enabled more vigorously to repress the mal-
practices of others. His disinterested conduct might also, if it
did not disarm his adversaries, at least weaken their assaults.
On these grand terms he became architect, of the Basilica of
St Peters.
Michelangelo speaks of himself* at this time as an old man
and anticipates the possibility of his death, but he was still full
of energy and he never had been so much occupied as he was
now, nor with such various employments. He painted in the
Pauline Chapel, watched over the progress of the fortifications
of the Leonine city, made designs for the improvement and ex-
tension of the Farnese Palace and girded himself for the grand
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470 MICHELANGELO
work of St Peters, thinking how he would raise the Pantheon
in the air and construct that unequalled cupola which is the
triumph of his genius as an architect.
The Farnese Palace when it was placed in his hands was
far advanced. It has been esteemed by architects of all nations
one of the noblest examples of jnodern domestic architecture
which exists; there has been however some tendency to overlook
the merits of Sangallo the first designer of this magnificent man-
sion, overshadowed as they have been by the importance as-
signed to the work of Michelangelo, who introduced the great
window over the entrance, completed the upper story and crowned
it with its magnificent cornice, whilst his design is also obvious
in the two upper arcades of the court. But his genius is de-
scribed as having shown itself in the grandest manner by a
design for uniting the palace with gardens on the other side of
the river by a bridge, which he planned.
The Italian palazzo or aristocratic mansion is the original
type of most modern town residences throughout Europe. In its
general plan it consists most frequently of an internal court open
to the heavens, surrounded by halls, corridors and rooms of va-
rious sizes and uses, the external elevations being in most in-
stances handsome and of imposing size. In Rome the models
principally imitated by architects in their designs, both for the
courts and the exteriors, were the remains of ancient theatres
and amphitheatres, especially the Coliseum. Of its external ar-
caded, story -divided elevation, the famous court of the Farnese
is almost a reproduction. Had the architects and their Ponti-
fical employers of those days, been content to borrow ideas of
design from the Coliseum, their names might have been without
reproach, but they unscrupulously plundered the materials also
and ruined their model. The vast blocks of yellow travertine
of which the Farnese is built were shamefully taken from the
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AND HIS WORKS 471
great amphitheatre, which for so long was considered nothing
more than a quarry by a people who once were Romans. 1
Not only the courts but the external elevations, are frequently
imitative of the same Roman examples, the arches being omitted
and the spaces occupied by the noble windows of the Renaissance
architecture.
The Italian mansion was a wonderful advance on the medieval
fortified residence of Gothic design. Magnificent portals, inviting
free entrance took the place of gateways with elaborate contriv-
ances to shut people out. Superb flights of broad and easily
ascended steps were substituted for steep narrow stairs. Windows
no longer little better than port-holes, became wide and lofty
apertures admitting floods of light to spacious chambers of varied
forms and elegant proportions, very unlike the vaulted and often
dungeon like rooms and halls of the old castles.
If again these modern dwellings be compared with those of
ancient Rome they will be found to be incomparably superior
even to the palaces of the mighty Caesars, the ruins of which
occupy the Palatine. There were some courts and halls in the
ancient palaces of an imposing character architecturally, but
the rooms for living in were very inferior to those of the mo-
dern dwelling, in size, lighting, ventilation and convenient ac-
cess. In these important conditions the palazzo far outshines
its predecessor, whilst the advance in a higher civilization is
marked emphatically by the better provision made for lodging
the humbler members of the family.
If the architectural decorations be carefully compared, the
sculpture of the Renaissance is far more varied in invention and
more skilfully and gracefully executed than that of Roman times.
There are some grand specimens of Roman work in the remains
1 Popes and Princes plundered spite of Pasqnin. Bat we also have our Barberinl in
despite of protests in Parliament.
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472 MICHELANGELO
of fora and temples, but those observable in fragments of minor
edifices and in the palaces of the Caesars, show that poverty of
invention and mechanical execution prevailed. The architec-
tural ornamental carving of the Renaissance, owed much of its
graceful design and delicate execution to its inheritance of ideas
from medieval times, during which much study and observation
of nature led the carvers of ornament so far in advance of those
of ancient Rome, who were mere imitators of old models which
they repeated without variation except that caused by growing
incapacity.
The painted decorations of the Renaissance surpass all known
specimens of ancient Roman art. The artists observed the an-
cient examples, which were uncovered from time to time, with
ardent curiosity and admiration, they imitated the design very
closely and modified their own methods of painting to attain as
far as possible a resemblance to those of the old works. This
is very observable in the famous arabesques of the Loggia of
the Vatican executed under the direction of Raffael. The ancient
and brilliant method of giving a lustrous surface to the plaster,
and the richly loaded touch of old encaustic are carefully imitated
in the modern ornaments, but the artists who did this, shot
ahead of their models in invention, drawing, variety and skill
of execution.
If the walls painted with figure subjects at the two periods
be compared, the superiority of modern art is incontestable.
It may be thought that the comparison is unfair, but it is not
altogether so. The pictures usually found on ancient walls
are known to be in many instances copies, — imperfect it
may be, — of celebrated compositions by ancient masters; the
agreement observable amongst these copies by decorators shows
in the clearest manner, that ancient painters were ignorant of
important elements a&d conditions necessary to perfect art, and
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AND HIS WORKS 473
therefore they were inferior to the painters of the Renaissance
who exemplify in their pictures all the resources of art, whether
dependent on science or derived from the observation of nature.
Objection has been taken to the formality of Italian architec-
ture, but the capability of the style for picturesque variety of
outline is observable in numberless villas in all parts of the
Peninsula. The long lines of houses of identical design in British
towns, with windows and cornices on a level, and a weary depres-
sing repetition of similar forms, are not representations either of
the spirit or the letter of Italian architecture. In Italian cities
if the palazzi be considered separately, they may appear formal
to some eyes, but no two in a street are alike in design or di-
mension, the variety is infinite, the picturesque combinations
are charming, and some of the most admired and beautiful views
in Italy are those in which city and landscape are combined.
In their interesting and wonderful variety of feature they form
complete contrasts to the formal modern towns, of so called
Italian architecture, built under different conditions of climate,
of economy and mode of life.
In those parts of the Farnese Palace to be attributed to Mi-
chelangelo his design is easily recognised. In a certain direction
he had advanced in knowledge since the erection of the Lau-
rentian Library. He had studied Vitruvius, and made himself
acquainted with numerical proportion, but his taste remained
the same. The cornice is magnificent, and it is matter of aston-
ishment that an architect capable of so noble a design should
have thought of and constructed the windows beneath it. If his
object in arching the tops was to admit more light, he could
have obtained that object by making them the same size as
those below, there is plenty of space and the upper story in-
stead of its mean appearance, would thus have had a dignity
worthy of the crowning cornice.
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474 MICHELANGELO
Michelangelo's taste in architecture leant to the picturesque,
which even led him to violate constructive conditions in dec-
orative details. Up to this time he had by no means been
content to imitate the symmetrical and severe general forms of
Roman architecture of the best period. He preferred instead,
varied and pictorial composition in which the use and meaning
of important features and details were apparently forgotten.
This is particularly illustrated in his adaptation of consoles or
brackets. As for example, in the hall of the Laurentian Li-
brary, large brackets of magnificent design are introduced, which
are entirely useless as supports. The same features in ancient
examples when applied to the architecture of door or window,
prop the cornice, which is their function, but those placed by
him in the upper windows of the court of the Farnese Palace,
besides being of quaint and complicated design, carry nothing
but the slight upper moulding of the architrave. His love of a
broken and varied surface induced him to superimpose decora-
tion over decoration till utility and meaning were lost. But
as in his compositions of the human figure whilst sentiment
is frequently unfavourably impressed by bizzarre details, the
grandeur of the whole composition is soul-stirring, so is it with
his design in architecture, the masses are dignified and impressive.
Writing to Pierluigi Farnese in 1547 Pietro or Paolo Mochi,
Commissary of the fortifications, gives the following account of the
progress made with the palace whilst it was under the direction
of Michelangelo.
« To afford you some amusement I give you an account of
your palace.... The front is almost finished including the upper
row of windows,1 the great cornice only is wanting.... apiece
of it has been completed experimentally on the side towards
1 This shovrs that they are by Michelangelo.
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AND HIS WOEKS 475
San Geronimo to satisfy his Beatitude, whom we accompanied
in state within. The cloister is surrounded with its colonade,
and the rooms towards San Geronimo are almost up, with the
chapel at the end of the corridor, and will soon be habitable.
Towards Qatena and Todeschi the wine cellar, store room and
kitchen, both outwardly and concealed, are finished, and the
greater part of the cellars also. The water cistern is the largest
and most commodious that I ever saw, with ancient earthen-
ware conduits of great size. So if they thus continue to build,
it will soon be up. The office of the sacred Penitentiary will
be made in the lower chambers.... the iron gratings on the
windows are almost all placed. The (antique) head, which I
wrote to your Excellency was in the castle, has been carried' to
the palace, and the figures of the Antonine column, and those
which were in the house of the Sassi, amougst them a Herma-
phrodite which is incomparable, and another great one of por-
phyry, and many other statues and busts, which are excessively
beautiful, are now in the palace and every day more are added. » x
Another letter of the same Commissary Mochi refers to Michel-
angelo's work upon the fortifications of the borough. In these
he was associated with Meleghino, but such was the confidence
of the Pope in his skill, that he gave orders that everything
should be done according to his design, and the letter of Mochi
gives an interesting insight into his knowledge at this time of
military engineering and his opinions on the subject of fortifi-
cation. The letter is dated the second of March 1547:
«With regard to the fortifications of the borgo, the gate
of Santo Spirito is closed, but the upper part is expected to be
finished quickly; it is a beautiful and spirited Doric gateway,
* Amadio Ronchlnl. Ed. oit., V. I, p. 168.
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476 MICHELANGELO
which would have deserved to stand in a more honourable place
near to St Peters, where Ambassadors come from all Christendom.
But we hope that his Beatitude will make one there also. At
the Spinelli it is purposed to build the curtain towards the tower
of St Nicholas V of saintly memory; and although Monsignor
Michelangelo has taken the place of Sangallo, under the direction
of Meleghino, his Beatitude has commanded that as far as regards
the design, Monsignor Michelangelo is to be obeyed and no other.
As Monsignor Michelangelo is opposed to the plan, which it was
intended to carry out, his Beatitude has given orders to await
the coming of Signor Alessandro Vitelli. The opinion of Mon-
signor Michelangelo is this. Where the fire of the flank already
ordered would cover the curtain of Nicholas, he would on the
same ground make an intermediate work in advance of the
curtain, with two flanks or bulwarks or platforms, with eight
embrasures four on each side, above and below; the fire of the
one would cover the gate at the Spinelli, of the other the cur-
tain of St Nicholas, he asserts that the fire as at first designed
would be unfavourable to us, whilst one battery was not enough
to defend the angle of the Spinelli owing to the great distance.
The bulwark of the Gallinaro is almost levelled with the earth
on two faces and it is intended to revet it and to use it as a
terreplein. » *
Michelangelo did not however continue to direct the works,
he had too much to do to give the necessary attention and the
Pope judiciously appointed Iacopo Fusto Castriotto of Urbino,
an officer experienced in war, to superintend the fortifications,
who 'at once showed his wisdom and science by abandoning
those in the low ground and commencing a new line of defences
1 Amadio Ronchlnl. Ed. clt., V. I, p. 167.
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AND HIS WORKS 477
on the crest of the high ground, where they were really wanted
and so providing in an efficent manner for the protection of the
Leonine city and the Vatican.
Had Michelangelo been in the flower of his age and in per-
fect health, his avocations when old and oppressed with a painful
and threatening disease would have excited the justest admi-
ration for his genius, energy, fertility of resource, and capacity
for varied work. Under the circumstances of his age and health
this sentiment is increased to wonder in contemplating his powers
and the freshness and vigour of the intellect dwelling within his
now enfeebled and decaying frame. In addition to the occu-
pation of his time recounted in this chapter, the charge of St Pe-
ters pressed upon his attention, a charge involving, not as might
at first sight appear reasonable and natural, the carrying out of
well-considered plans and designs, long before agreed upon, and
now in progress of realization, but a new creation in which he
was more hampered than aided, by the confused and in most
respects ill- devised proceedings of his predecessors.
A history of the gigantic enterprise over which Michelangelo
became the ruling spirit at seventy-two years of age, would fill
a volume such as this; therefore it is not possible to do justice
to it or to the genius employed upon it, since Julius determined
to replace the ancient Basilica with a new and hitherto une-
qualled temple in honour of the Apostle St Peter.
A number of drawings and sketches by several of the great '
artists employed on this immense edifice, are preserved in the
Gallery of the Uffizi in Florence, and certainly one of the im-
pressions made by these drawings is that of surprise. Each of
the successive architects appears, in a great measure to have
disregarded the intentions of his precursor, and rather to have
considered how he could alter, than how he could carry out the
plans confided to him.
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478 MICHELANGELO
Bramante evidently started with a very complete and well
considered plan, which however was deficient in constructive
solidity, and made more so by the inadequate manner in which
he laid the foundations and carried up the work, so that his
successors, besides making modifications of his plan in their dif-
ferent views of taste and fitness, were much occupied strength-
ening and repairing the imperfections of his construction which
soon afforded evidence of its weakness. He began to build
having only partially removed the ancient fabric and carried up
his piers, whilst yet many of the forest of columns, which formed
the principal features of the venerable Basilica, were still standing.
In removing these and innumerable other precious examples of
the skill of ancient artists, he showed neither taste nor reverence.
Probably he was hurried by the impatient Julius, and the question
presents itself what is to be thought of Pontiff and architect,
who in a few years could break down, ruin and destroy more
works of art, more memorials of old times, more monuments of
successive Popes and of others thought worthy of record, and
could obliterate more well marked footsteps of history than whole
generations of vandals? A claim has been advanced in these
pages as in those of other writers in favour of Julius II as more
justly entitled to have his name inscribed on the century, than
that of Leo X, but however unworthy the latter may be of
so great an honour, in denying it to Julius, history has avenged
his ruthless destruction of the ancient Basilica of St Peter, and
the monuments which it contained.
Apart from such considerations as these and the regrets which
the abolition of the old church causes, the merits of Bramante's
design are described in terms of glowing eulogium by Michel-
angelo in a letter to Bartolomeo Ammannati, made only the more
striking by the generosity which could cast aside the remembrance
of cruel persecution:
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AND HIS WOBKS 479
Borne, .... 1555.
«Messer Bartolomeo, dear friend,
It cannot be denied that Bramante was as admirable an ar-
chitect as ever lived, from the time of the ancients till now.
He laid the first plan of St Peters, in no complex or confused
way, but with clearness and precision, isolated and with day-
light all round so that it did no harm to the palace (of the
Vatican), and so designed that it was held to be beautiful as is
still evident, and thus whoever has departed from the design
of Bramante, as Sangallo has done, has left true architecture
on one side; and that it is thus, every unprejudiced person
may see in his model. * He, with that circle which he makes
outside, in the first place deprives the design of Bramante of
light, and not only this, but in his own there is a want of light
above and below, with so many hiding places as to provide Con-
venience for the performance of the worst crimes, for hiding
convicts, coining false money, seducing foolish nuns and other
abominations, so that in the evening when the church is to be
closed, at least twenty- five men would be required to look round
and search that no one remained hidden, and they would find
it a difficult task. There would be this other inconvenience that
in the circuit which the model makes outside the building of
Bramante, it would be necessary to take down the Pauline Chapel,
the rooms for Plumbing, the court of the Ruota and many others :
I doubt even if the Sixtine Chapel would escape entirely. With
regard to the portion of the outer circle which is erected and
which they say cost a hundred thousand crowns, this is not
true, for it could be made with sixteen thousand ; and by taking
it down there would be no great loss, for the stones of which it
1 The model of Antonio Sangallo is preserved in the octagon of St Gregory on the top
of St Peters with other models near It.
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480 MICHELANGELO
is built and the foundations come most conveniently to hand,
and the fabric would be improved to the value of two hundred
thousand crowns, and three centuries of duration. This is what
appears to me, without prejudice, for to conquer to me is loss.
If you can make the Pope understand this you will do me plea-
sure, at present I do not feel well. »
1 Yours
MlCHELAGNIOLO.
« Adhering to the model of Sangallo, it follows that all that
has been done in my time, must be taken down, which would
be a very great loss. » l
This very remarkable letter presents not merely a severe crit-
icism of the design of Sangallo, but a sad picture of the habits
of the time and of the delinquencies which were perpetrated in
churches, for there can be no doubt that the objections made
by Michelangelo were founded upon his knowledge of prevalent
customs.2 «For to conquer to me is loss* this enigmatical
phrase was explained in a true sense at a later time. Michel-
angelo's demolitions exposed him to strong attacks on all sides
and to hostile reports from the Commissioners or Deputies.
When at a previous time Sangallo on his part entered upon
his charge of the fabric of St Peters he also had prepared a
report for the information of the Pope, which it may be useful
and interesting to contrast with that by Michelangelo:
« Chiefly moved by regret, and to act for the honour of God
and St Peter, and for the credit and service of your Holiness
1 Buonarroti Archives.
• The Illumination of the cross at night in St Peters was given up within the present
century on account of the delinquencies committed in the dark parts of the church.
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AND HIS WORKS 481
rather than for my advantage, I make known how the money
is spent in St Peters with little benefit or honour of God and
of your Holiness, being in fact thrown away. The reasons I
here assign:
In the first place the general plan, now in a confused state,
must be restored to order and harmony: there must also be ar-
rangements to form a large chapel, for there are none but little
chapels, whilst order and uniformity do not exist nor a perfect
distribution.
In the second place, the pilasters of the nave are larger than
those of the tribune, whereas they ought to be less or equal.
Thirdly. The external pilasters which are Doric must be
proportioned; they are twelve heads in height, whereas they
should be only seven. l
Fourthly. To arrange whether those within are to have so-
cles or not, on account of the inconvenience which they produce
in the chapels.
Fifthly. If the work is carried on as it has been begun the
nave will be so long high and narrow that it will look like a lane.
Sixthly. The said nave will be very dark, consequently the
rest of the Church will also be so, for good lights cannot be in-
troduced.
Seventhly. To remedy the false position of the tribune and
to jnake arrangements that the pilasters which are executed may
be placed over the arches. I say nothing of the ornament, it
may be as rich as may be desired.
With regard to all these matters, they may be easily remedied
and corrected and good proportions arranged.
1 Sangallo mast mean diameters as the Romans carried their version of the Doric order
up to seven and even eight diameters. He does not say who was responsible for making
them twelve, bat the statement shows the incapacity of one or other of his predecessors.
The order has vanished from the present building, bat the designs of Sangallo show a
Doric which is excessively heavy.
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482 MICHELANGELO
I propose also to remove the doors which lead from chapel
to chapel; they look like shot-holes and are discreditable.
I also am of opinion that the hemicycle at the head of each
transept is false, not but that the workmanship is good and
beautiful, but the design is so imperfect that it does not unite
with the rest which is objectionable.
Item, the cornices of marble erected by Raffael in the chap-
els are false and have not the proper projections.
Item, the cornices of travertine by Raffael are false where
placed in their relations to the pilasters beneath, with their
bases and capitals.*
These reports of two such eminent men, which differ so fun-
damentally in their statements of the original plan and design,
show that hitherto the building of St Peters must have been
conducted in a very haphazard way. The difference between
them may be accounted for by the circumstance that Michel-
angelo limited his remarks to Bramante's design, whereas San-
gallo described the church in the state to which it had been
reduced by other architects.
The great model at Rome made under the direction of San-
gallo shows that he fell into some of the errors which he con-
demns. His church, if built according to his design, would
have been deficient in light, and divided into nave and two aisles
by numerous and heavy piers, so that there would nave been no
good or general view embracing a considerable portion of the in-
terior, but like the great hall at Earnak it would have presented
a succession of « lanes » without the same excuse, the Egyptian
being ignorant of the arch, as a substitute for the architrave.
Thus Sangallo saw the errors of his predecessors but he intro-
duced others of equal magnitude according to the opinion of his
successor Michelangelo. His model however is deserving of atten-
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AND HIS WORKS 483
live study and so is his large drawing in the Gallery of Florence.
He anticipated Sir Christopher Wren, in what has been held to be
a fault of his beautiful design, by dividing his exterior into more
than one story whereas the interior is one only. Sangailo however
went beyond Sir Christopher, for he proposed two stories and
an intersole externally. The two prodigious classic steeples
which he meant to carry up on each side of the front of his
proposed church are also anticipations of the frequent designs
for belfrys of the great Englishman and his successors. Those
of Sangailo were objected to from their resemblance to Gothic
bell-towers. The Italian critics showed their entire ignorance of
those magnificent features of medieval design, but their objection
to the system introduced by Sangailo of piling temple over temple
to form a belfry was sound. The proposed dome of Sangailo,
for he anticipated Michelangelo in the idea of a cupola as did
Bramante and Baldassare Peruzzi, would have been dark and
heavy. It is in fact well that the world escaped his design and,
gained that which exists, even with all its faults.
When Michelangelo commenced his work, like his predeces-
sors he also was obliged to strengthen the badly constructed
piers that they might carry his proposed cupola, designed of
a magnitude greatly in excess of theirs He must have been
familiar with the numerous drawings and models which they
had left, which were preserved in the office of works of the
Commissioners of St Peters, and no doubt profited by the obser-
vation of their errors. All had contemplated domes, but their
designs were squat and inelegant in form, and when he con-
trasted them with the pantheon of Agrippa, he saw their inferior-
ity to that superb building which he boldly said that he would
raise into the air, and thus he designed and so far built the
cupola which has immortalized him. Standing under that glor-
ious dome, although partially altered from his design the man
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484 MICHELANGELO
of true sentiment, with heart and soul must render homage to
the superhuman genius of the aged man who imagined it and
with such self-sacrifice and true devotion carried it up in honour
of God and his Apostle.
The question also presents itself to the mind, when and where
did its great architect acquire the mathematical knowledge
needful to its design and structure? The imperfectly educated
boy had no opportunity of studying geometry. The deficient
knowledge of perspective observable in his early works, has
been purposely alluded to, as showing how little he knew even
of the elements of geometry in the early part of his career.
The statement of his enemy Bramante, that although he might
be able to design a picture to be painted on the surface of a
perpendicular wall, he was afraid to grapple with the difficulty
of designing for the curved surface of a vault, was a very sig-
nificant observation, and must have been based on Bramante's
observation of the state of Michelangelo's knowledge of the laws
of perspective. In the Sixtine Chapel he was brought face to
face with the difficulties which his enemy thought would conquer
him, and convict him of ignorance; but Bramante underrated
the capacity and resources of Michelangelo. In the specifications
for the monument of Julius, indications may be observed of
unsettled ideas of perspective, but a higher knowledge is exhib-
ited in the design for the vault, and this fact alone would serve
to prove, that that work was carefully planned and deliberately
executed. The gradations in the sizes of the figures in the last
judgment finally show Michelangelo's matured knowledge. We
do not know when he studied mathematics, but his works indicate
increasing acquirements and the cupola of St Peters remains a
monument of their extent and solidity.
Amongst the various schemes for the embellishment of Borne,
undertaken during* the active pontificate of Paul III, there was
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AND HIS WORKS 486
no one more interesting than that to revive the architectural
splendours of the Capitol. The site of the temple of Jupiter
Capitolinus was occupied by the Church of Ara Cceli, the flank
of the famous hill which confronted the ancient Forum, was
faced with structures in part dating from the city's earliest days,
on the opposite side a steep descent led to the modern streets
which ppread northwards over the level ground of the Campus
Martius, whilst towards the Tiber, the surface of the mount was
covered as now, with houses and orchards, in one of which is
shown the precipitous Tarpeian, its height diminished to a leap
by accumulations at its base.
A society was formed with the approbation of the Pope, to
erect public buildings worthy of the site, and Michelangelo who
was a member of the patriotic society, was chosen to be the
architect. The opportunity offorded him was a great one, cal-
culated to excite his imagination and to induce him to put forth
all his powers. Whatever may be thought of the details of the
design of the wonderful old man, there can be no question that
the general masses are dignified and imposing. The entire idea
was not made perfect till the reign of Gregory XIII, when the
sloping ascent with its broad and easy steps, its massive bal-
lustrade of travertine, its pedestals bearing Egyptian lions of
basalt, Roman statues, Trophies, and Columns which once
marked the distances on the Appian, was completed.
On the summit of this magnificent ascent, is .the square of
the Capitol, with its twin palaces on either hand, and in front
that of the official who represented in his solitary person all
the Conscript Fathers of the ancient Senate. However striking
the architectural effect, the eye is first arrested and the attention
fascinated by the unequalled equestrian statue of the philosophic
Marcus Aurelius, which the taste of Michelangelo, brought from
the wide space near the Lateran Palace and erected here on a
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486 MICHELANGELO
marble pedestal to form the central decorative feature of his
design. A nobis, doable flight of steps, one of the great artist's
happiest conceptions, leads up to the palace of the Senator, and
a vast basin in front of it, is always filled with water, which
reflects the statue of ancient Rome occupying the recess beyond,
whilst two statues of nameless rivers repose on each side, one of
them the ancient Marforio, whose wit is now as dry as his sym-
bolical urn.
It needs but a glance at the similar palaces which now con-
tain the Capitoline Museums, to see that when Michelangelo
designed them, he was thinking of the external elevation of
St Peters, for in the same style, Corinthian pilasters on pedestals
surmounted by a massive entablature, comprise the entire height.
The pilasters decorate the faces of solid piers, the spaces
between which are divided into two stories, the lower being an
open portico, the fa9ade formed by Ionic columns supporting an
entablature placed between the great pilasters. Over its cornice
and filling up the interval beneath the immense architrave of
the Corinthian order, is the wall of the second story with its bal-
lustrades and richly ornamented windows. On the summit of
the entire composition pedestals bear up against the sky tiny
statues of white marble, fragments of ancient Roman decoration.
Michelangelo thus gave his name and authority to a description
of architectural design in which the aspect and proportions of
the lofty order of a temple are combined with construction di-
vided into separate floors, since so much abused in thousands
of instances in every part of Europe. If in describing his design
a suggestion may be hazarded, it would have been far more
beautiful and constructively just, had the pilasters on the fronts
of the piers been omitted.
It may be said, that the new Church of St Peter originated
this unhappy style of external architecture. One vast height
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AND HIS WORKS 487
within, with one order externally, the walls between the columns
or pilasters of that order, being divided into three stories of win-
dows. How inferior is this arrangement to the principle of design
observed in medieval architecture by which one vast and mul-
lioned opening, exquisitely designed, would have taken the place
of the three apertures which admit too little light. If the Italian
palazzo infinitely excelled the medieval castle, the grandest
churches of the Renaissance fell far short of those of medieval
times, whether in the skill with which they were constructed, or
the taste with which they were designed. It is evident that the
architects of St Peters were very inferior in constructive ca-
pacity to those of York Minster, the Cathedrals of Cologne,
Bourges or Chartres, and other medieval churches.
If the decorative details of the Palaces of the Capitol be care-
fully examined, it will be seen that Michelangelo, as was his
wont, made every effort to be original in his designs, although he
condescended at times, to direct imitation. A prevalent orna-
ment is the shell, frequently of gigantic size, some being ap-
parently six feet in diameter. This was a step in the direc-
tion of so enlarging architectural ornament, including foliage
animals and imaginary or human figures, that the largest build-
ings appear diminished in size when crowded with these gigantic
details. Here again the medieval architects infinitely excelled
those of the revival, by preserving proportions similar to those
in nature both in their ornament and in their statues, thus in-
dicating the true dimensions of their buildings with matchless
skill. They not unfrequently diminished these proportions, but
rarely if ever exceeded them.
By sketches in the Florentine Gallery and by fragments of
Bramante's designs, it may be seen that he anticipated Michel-
angelo in the use of these enormous shells; there is a sketch
which shows that he contemplated a shell big enough to serve as
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488 MICHELANGELO
the vault of an entire chapel. This fashion lasted for some time
in Rome and is observable in a number of buildings there.
It has been seen that throughout hip whole life! Michelangelo's
study of nature was limited to that of the human figure. That
he neglected landscape entirely, so that he could not paint a
tree or plant of any kind is observable in his pictures; conse-
quently he was shut out in his design of architectural ornament,
from the only true source of that originality which he aimed
at, he was constrained to limit himself to variations of the forms
of Roman ornament, which he never improved but almost in-
variably deteriorated. Thus notwithstanding his unequalled
intellectual power and skill as a designer, he failed in a com-
paratively humble branch of art, from the neglect of principles
of design followed up with success by artists who in all else
were so greatly his inferiors. In the architectural ornaments
of Desiderio da Settignano may be observed the most exquisite
ideal treatment of familiar plants which grow in Tuscany.
By such simple means he thus excelled Michelangelo and en-
riched art with novel and beautiful forms and ideas, and he was
one only of a number of excellent artists of the Renaissance who
were distinguished in the same way, and who set an admirable
example to the architects and decorators of all times.
The study of nature which Michelangelo admitted to be
useful and needful to the architect is clearly expressed in a
letter probably written in 1560, when the noble edifices on the
Capitoline hill were in progress. It is thought to have been
addressed to Cardinal De Carpi:
« Most Reverend My Lord. When a plan has diverse parts,
all those which are of one quality or proportion must be adorned
in a similar manner, as likewise their counterparts. But when
the form of the plan is altered, it is not only permissible but
necessary to change its adornment and at the same time its
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AND HIS WORKS 489
counterparts, and the means of doing so are as free as can be
wished. The nose is in the centre of the face and is indepen-
dent of either eye, but one hand is bound to resemble the other,
and one eye must be like the other being counterparts on equal
sides. It is obvious that architectural members are derived
from those of the human body. He who is not a good master
of the figure and especially of anatomy cannot understand this. »
MlCHELAGNIOLO BuONASBOTI.
Michelangelo did not live to finish the buildings which he de-
signed. He was succeeded as architect of the Capitol by Tom-
maso de'Cavalieri, by Vignola and Giacomo DeHa Porta and by
other architects of less repute. The picturesque ascent was built
by the orders of Gregory the XTTT, and various Pontiffs including
the active promoter of the adornment of Rome, Sixtus V, con-
tributed in many ways to the completion of the palaces and
the handsone approaches as these are now seen.
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Chapter XX
ubixg the progress of the works on which Mi-
chelangelo was so busily engaged for years in
Rome, he carried on an active correspondence
with relatives and friends, especially with his
nephew Lionardo.
A number of the letters refer to such domestic matters as the
receipt from his nephew of presents of wine, especially of that
quality called Trebbiano, of fruit, cheeses and other articles,
and he almost invariably notices the quantity and quality,
enumerates the cheeses, the flasks and even counts the pears:
« I had the cask of pears, they were eighty- seven in num-
ber, I sent thirty -three to the Pope, he liked them very much
and thought them beautiful. » l Michelangelo almost invariably
shared the offerings with his friends. He refers in his corres-
pondence to his age and growing infirmities, to his great phys-
ical sufferings from his depressing and painful malady and gives
advice on various subjects of family interest and importance,
1 Buonarroti Archives.
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492 MICHELANGELO
but he makes allusion to his works of art less frequently than
could be desired; therefore the narrative has not been inter-
rupted by the insertion of letters which although written during
their progress throw little or no light upon them.
Some of the letters mention remittances, others tefer to the
purchase of property; Michelangelo thought it dangerous to keep
sums of any amount in hand, money was safer invested : « I have
thought of sending as much more money in two months, but
it does not please me that you should keep it in the house for
it is dangerous. » * At times he gives instructions as to char-
ities. «With regard to the alms, to me it is enough to know
that you have done what I wished and that the Monastery has
received them without mention of my name. You write to me
that you will give four crowns to that woman for the love
of God, I am pleased, I wish to give fifty crowns for the love
of God, part for the soul of Buonarroti thy father, part for my
own. Try to find out some citizen in poverty, who has daughters
to marry or to place in a convent, and give him help secretly;
but beware of being taken in, and take a receipt and send it to
me, I speak of citizens, for I know that when they are in poverty
they are ashamed to beg.» Again: «It would gratify me if
you would let me know if you hear of any noble citizen who is
in extreme poverty, and especially of such as have children in
the house, that I might aid them.*
«Take care that you give where there is want, and not for
the sake of relationship or friendship, but for the love of God.
Do not say whence the charity comes. »
His charities were not limited to his own countrymen; writing
from Rome he says: «The money must be changed for bread,
there is famine and if help is not given, the people will starve. »
1 To avoid encumbering the pages with notes unless It Is otherwise stated, all the letters
quoted in this chapter are from the Buonarroti Archives published by Gaetano Milanesl,
September 1875.
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AND HIS WORKS 493
Michelangelo's sentiments on the subject of family descent,
relationship and dignity were frequently expressed in his cor-
respondence. It has been seen again and again how he « endured
hardships, lacerated his body with hard labour, placed his life
in a thousand dangers to aid his family » how he purchased
property and gave the rental to his Father that he might « live
like a gentleman. » His family pride is singularly illustrated in
a letter to Lionardo of the second of May 1548 : « Tell the priest
(Fattucci) not to address: « Michelangelo Sculptor » for I am
not known, but as Michelangelo Buonarroti; if a Florentine citizen
wishes to have a picture painted for an altar let him find a
painter, for I never was painter or sculptor as those who make
merchandise. I have striven for the honour of my parents and
my brothers, true I have served three Popes, but I was forced
to do so. » This proud letter shows why so many commissions
offered to Michelangelo were refused. That he loved his art
there can be no question, but the spirit in which he would have
preferred to exercise it is made apparent by these expressions,
it was that in which he designed the Cupola of St Peters and
watched over its building. He dwelt on this to him almost ab-
sorbing subject in writing to his nephew: « Some day when I have
time, I shall inform you of our origin, whence we came and when
we settled in Florence, of which perhaps you are ignorant. » He
again wrote to his nephew saying that he had lately seen a
volume of chronicles of Florence, in which it was stated, that
about two centuries before, there had been a Buonarroti Simoni
amongst the* members of the Signory and afterwards a Simone
Buonarroti, a Michele and a Francesco, but the history did not
come down to Lionardo who was also of the Signory, and his
grandfather : It is to be remarked that in this statement Michel-
angelo makes no reference whatever to the Canossa, or to his
supposed connection with that family.
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494 MICHELANGELO
Determined if possible to restore the prosperity and status of
his family, he began at an early period to buy land. He became
possessor of the farm of Capiteto by purchase on the twenty-
seventh of January 1506 ; of another La Loggia on the twenty-
eighth May 1512 to which he added a piece of land on the
twentieth of June following. In 1515 he bought a farm near
the ancestral villa at Settignano. On the fourteenth of July 1517
he made his first purchase of land within the city, on which
to build a house and workshop, and two years afterwards on the
twenty -seventh of October he bought the farm of Fitto. In the
following year 1520 he added some land to the farm at Settignano.
It has been seen that he gave the rentals to his father, for whose
comfort he was so desirous of providing.
In 1545 he wished to add to his landed property the estate of
Corboli, when his nephew Lionardo, who was obviously deficient
in tact and who inherited none of his Uncle's abilities, and was
covetous like the other members of the family, committed the
folly of urging on the purchase: and brought upon himself the
following rebuke:
« Lionardo. Thou hast been in a * great hurry to give me
information of the possessions of the Corboli. I thought that
thou wast still in Florence. Hadst thou fear that I should
repent, that thou earnest here so eagerly? I tell thee that I
mean to act cautiously, for I have made my money with a labour
of which one who like thou, wast born with clothes on, knows
nothing.
With regard to thy coming to Rome with such expedition, I
am not aware that thou earnest so quickly when I was in poverty,
in want even of bread; it is enough for thee to throw away the
money which thou hast not gained, in thy fear of losing this
heritage. Whence the necessity for thy coming here, was it for
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AND HIS WORKS 495
the love thou bearest me? the love of the moth ! if thou didst
love me, thou wouldst have written to me thus: « Michelangelo,
expend the three thousand crowns there for yourself, for you
have given us so much that it is enough, your life is dearer to
us than your property. » Thou hast lived upon me now for forty
years, nor have I ever had any thing of thine, not even kind
words. True it is that last year being urged to do so, for very
shame, thou didst send me a load of sweet wine. It matters not
if thou hadst not sent it. I do not write this letter to thee
because I will not buy, I mean to buy to provide me with an
income, for I can work no longer ; but I will act cautiously that
I may not also buy some burden. »
Lionardo bore the reproaches of his fiery uncle meekly, there
is no trace of any hasty or disrespectful reply on his part. Michel-
angelo's allusion to providing an income has reference to a subject
already mentioned, his loss of that derived from the ferry near
Piacenza. His letters frequently return to the subject of pur-
chases of land in various parts of Tuscany, at Settignano, from
Pier Tedaldi, a farm at Sta Caterina, another at Chianti which
he bought* He also corresponds about the purchase of farms,
in the plain below Florence on the road to Prato, at Monte
Spertoli and the Cepperello, near the paternal farm at Setti-
gnano. The transactions regarding these properties and their
management must have occupied a good deal of his time and
attention, but he rarely refers to these subjects. The purchase
of a town mansion also was considered in many letters and
Lionardo was directed to make careful enquiries.
But above all, the choice of a wife for his nephew occupied
his thoughts for years, this engrossing subject and the contin-
uation of the ancient line of the Buonarroti Simoni, are touched
upon with an earnestness and a business like gravity, which for
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496 MICHELANGELO
the first time excite a smile in a history so full of sadness.
Writing from Rome in a letter without date, but which is clas-
sed with those belonging to 1547 he says:
« Lionardo. I wrote to thee about taking a wife and told
thee of three girls which have here been mentioned to me, one
is the daughter of Alamanno de' Medici, the other of Domenico
Giugni and the last of Cherubin Fortini. I do not know any
of them and cannot say either good or ill of them, nor advise
thee about one more than another. If however Michele Guic-
ciardini would exert himself, he might learn what sort of women
they are and give information, as well as of some other. There-
fore ask him to do so on my part, and remember me to him.
With regard to the purchase of a house that seems to me a
needful thing before taking a wife; thy present house is not
suitable. When thou writest to me try to write so that I can
read thy letters if my reply or opinion is wanted. *
MesMr Giovanfrancesco (Fattucci) might give thee good advice,
he is old and knows the world, remember me to him. Above
all seek the counsel of God, for it is a great step. Remember
that the husband should be at least ten years older than the
wife and that she should be healthy. »2
Whilst Michelangelo was occupied with so many great under-
takings in Rome, and his private correspondence shows what
was the current of his thoughts when he was able to turn from
his labours to family affairs, he was called upon to bear sharp
affliction from the loss of friends by the hand of death.
In 1547 as has been already mentioned, the friend whom he
loved best and admired most, Victoria Colonna died, and the old
1 On a former occasion lie wrote « Lionardo I threw thy last letter into the lire, not
being able to read it. »
* British Museum Buonarroti MS; published by Gaetano Milanesi, p. 808.
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AND HIS WORKS 497
man, so strong in his affections was bowed to the ground by his
affliction. A year afterwards in January 1548 his brother Giovan-
simone likewise died. It might be thought, with but little la-
mentation of his relatives^ but Michelangelo grieved for him; he
wrote, « I have been much afflicted, I had hoped although so old, to
see him before either of us died, but God has willed it otherwise,
therefore submission. It would comfort me to know how he (tied,
if he confessed and communicated and did what the Church re-
quires, to know that he did so would diminish my grief.*1
His nephew Lionardo, evidently a cold hearted selfish man,
neglected to reply promptly and Michelangelo bitterly reproached
him for his indifference and added: « I would remind thee that
he was my brother therefore I grieve. Of his death thou writest
to me that if he had not all the offices of the Church, he was
sincerely contrite; if so, it is enough for his soul's welfare. With
regard to what he has left, as he died without a Will it goes to
his brother Gismondo. » * On this last subject on the twenty
eighth of April 1548 he wrote « I decline the heritage of Giovan-
simone » who in fact must have died in his debt, but this he did
not regard, he had for years supported the members of his family,
and as he often said, looked to them for nothing but gratitude
and brotherly kindness, neither of which he found.
The discussion of the marriage of Lionardo continued, Michel-
angelo was evidently deeply interested, but either a wife was
not easily found or there were other reasons why the nephew was
so long in coming to a decision. On the first of February 1549
Michelangelo again wrote:
« Lionardo. I sent thee in my last a note of marriageable girls,
which has been sent to me from Florence, I suppose by some
1 British Museum Buonarroti MS. published by Gaetano Mllanesi, p. 208.
* Ibid, p. 218.
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498 MICHELANGELO
agent, and he must be a man of small judgment, for I, having
been established in Rome for sixteen or seventeen years, he
might suppose that I have little knowledge of Florentine fami-
lies. What I have to say to thee is, if thou wishest to take a
wife do not trust to my advice, for I am unable to offer thee the
best counsel ; but I would say to thee do not run after money
but good character.
I believe that in Florence there are many noble but poor
families with whom it would be a charity to form a union, and
it would be well that there should be no dowry for there would
then be no pride. Thou needest a wife to associate with, and
whom thou caust rule, and who will not care about pomps and
run about every day to parties and marriages. It is easy for
a woman to go wrong who does these things. Nor is it to be
said by any one, that thou wishest to ennoble thyself by mar-
riage, for it is well known that we are as ancient and noble
citizens of Florence as those of any other house. Recommend
thyself to God that he may aid thee. »
During this long correspondence frequent reference is made
to the purchase of a house, and several were suggested in dif-
ferent parts of the town, but apparently he was not easily satisfied.
He thus expressed himself to Lionardo on this subject:
« With regard to the purchase of a house I ratify the same,
that is to try to purchase a handsome house to cost from one
thousand five hundred to two thousand crowns and in our quar-
ter if possible. l So soon as thou hast found a suitable house,
I shall forward the money to pay for it. I say this, for I think
that a handsome house in town does more honour to a family
because so observable, than country possessions: We are citizens
1 That is in the Ghibelline quarter. It actually ia in the Via Ghibellina.
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AND HIS WORKS 499
descended from a very noble race. I have all my life done my
best to resuscitate my family; but I have not had brothers to
help me. However exert thyself to do that which I tell thee,
and let Gismondo return to live in Florence, that I may not be
made ashamed, by that which they say to me here, that I have
a brother who drives oxen. When thou hast bought the house
we shall buy other things. »
The house which was finally purchased was that in the Ghi-
belline quarter of the city, which is now the property of the
people of Florence.
It is a modest and dull house, the rooms being neither numerous,
spacious nor well laid out. Its decorations are in very indifferent
taste, and the interesting works which it contains are not well
seen, owing to deficiency of light. The pictures by Florentine
artists, representing acts of Michelangelo or events in his life,
although some of them are well painted, are utterly without
interest from their obviously ideal and even fantastic character.
The remarkable relief done by Michelangelo when he was a boy
and showing such wonderful promise is so placed that its merits
-cannot be properly appreciated, it is as badly arranged as if
it were the work of a jobbing marble cutter. The house has
been lately repaired externally, the arms of Lionardo Buonar-
roti placed upon an angle of it, and a bronze bust of Michelangelo
over the doOr of entrance.
The marriage of Lionardo was at last happily negotiated.
On the twenty-second of April 1553 Michelangelo wrote: « Lio-
nardo I learn from thine, that the arrangement with reference to
the daughter of Donate Ridolfi has been completed. God be
praised, may it be followed by His grace. » Then on the thirtieth
he informs Lionardo of the settlement which he made on the
lady of one thousand five hundred ducats. On the twentieth
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500 , MICHELANGELO
of May amongst other things after congratulating his nephew
on having his wife with him in his house he adds : « I shall show
that she is wife of my nephew, although I have not yet done
so, but Urbino is returned, and I shall make a demonstration.
It has been said to me that a beautiful set of pearls would be
well. » Then on the twenty-first of June : « I have provided two
rings for Cassandra one a diamond and the other a ruby. » These
he forwarded in July.
His happiness was at last increased by what he so greatly
wished for, to live to see a descendant of the race of the Buo-
narroti. In March 1554, having been informed some time before
by his nephew of the coming birth of an heir and being con-
sulted as to the child's name, he wrote: «With regard to the
names of the children which thou mayest have, I think that
thou shouldst perpetuate the name of thy father, if it be a boy,
and if a girl, of our Mother, that is Buonarroto or Francesca. »
This is a rare but tender allusion to the Mother of Michelangelo.
«It would be dear to me to preserve this name of Buonarroto
in our house, as it has lasted for three hundred years. »
In the fulness of his heart when a son and heir was born he
thus wrote to Vasari:
€ Messer Giorgio my dear friend. Your letter has given me
great pleasure, seeing that you still remember the poor old man,
and still more that you were present at the triumph which you
describe to me, that you have seen in life another Buonarroto,
for which news I thank you as much as I can do so. So much
pomp however displeases me, for men should not be merry, when
all the world weeps, besides Lionardo does not show much judg-
ment in holding Tsuch festival over a new born, such joy
should rather be kept for the death of one who has lived well.*1
1 Letters of Michelangelo published by Gaetano Milan es J, p. 683.
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AND HIS WORKS 501
This was an old titan's view of life looking forward to coming
death, but every thing shows that however needful he might
think it to be, to repeat the lessons of his wisdom, he rejoiced
with his whole heart in the birth of this child and in the hap-
piness of the parents.
Lionardo on his part was naturally anxious to perpetuate the
qame of Michelangelo, and his Uncle wrote to him on the ninth of
February 1555 : « With regard to the babe which thou expectest,
thou sayest that thou wouldst wish to give it the name of Mi-
chelangelo. If it pleases thee, it also pleases me, but if it is a
girl I do not know what to suggest. Please thyself and espe-
cially Cassandra to whom remember me. With regard to the
charity, which I wrote to thee about, do not make a fuss. » Then
in March of the same year. «I learn from thy last the death
of Michelangelo, and as much as I rejoiced, now I am sorrowful,
even far more. «But we must submit and think that it is better
so than if he had died in old age.» Children followed rapidly
but did not live. In December 1556 he writes: «Thou tellest
me that Cassandra has had a child which died in a few days,
which has vexed me very much, but I dont wonder for it is
our fate not to multiply in Florence. Pray God that the one
which thou hast may live, and try to live also, so that every
thing may not go to the Hospital. » This is an allusion to the
nature of his will. Michelangelo seems to forget that his father
had a numerous family of sons.
So late as June 1562, he writes again to Lionardo on the
absorbing subject:
« If Cassandra has a son, give him the name of Buonarroto,
if a daughter, of Francesca.» Again his Mother. He must
have forgotten that there was a child Buonarroto born on the
fourteenth of April 1554, who transmitted the family honours.
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502 MICHELANGELO
Michelangelo finished the frescos of the Pauline Chapel in 1549.
The anxiety and agitation which he manifested when pressed
to commence them in 1542, has been already described; the
questions relating to the Julian monument were not settled, and
so long as that was the case, Michelangelo could not paint; be-
sides in October of that year he mentions the fact, that the pre-
paratory coat of plaster was not yet dry. Winter therefore was
before him when fresco painting must be frequently interrupted.
In his letters there are few and brief allusions to his occupation
in the Pauline. In January 1546 he recovered from the severe
illness which led to the report of his death in Florence, and
writing to Messer Luigi Del Riccio, he says: «I am cured and
I hope to live some years yet.» No sooner is he well enough,
than he returns to the frescos of the Pauline Chapel, for on the
third of February of the same year he wrote to Messer Silvestro
da Montauto, Rome: « As you are* aware, I am occupied in the
service of our Lord the Pope painting the Pauline Chapel. »
Then in the same year but in an undated letter he writes to
Messer Luigi Del Riccio: « You know that fire has unroofed a
part of the Chapel, I think it ought to be covered over as before,
as quickly as possible, at least roughly if not otherwise, till we
have finer weather, so as to defend it from the rains which not
only spoil the pictures, but injure the walls. » When this acci-
dent occurred some 'progress must have been made with both
pictures. He does not again allude to them, but Vasari and
Condivi state that he finished them in his seventy -fifth year,
therefore in 1549. It has been seen how various and important
were the avocations of Michelangelo during these busy years,
and as there can be little doubt that he could have painted the
two frescos within two years or less, had he been able to give
undivided attention to them, he can only have worked at in-
tervals for they were not finished till seven years had elapsed
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AND HIS WORKS 603
after their commencement. The nature of fresco painting being
considered, this fact of his intermittent work becomes interesting,
for it is evident that in conducting it, he must have been subjected
to much labour and inconvenience and to some loss. The pre-
pared lime would be sometimes made useless and on his return
to his painting after an interval, the fresco would be dry and
hard, whilst to recommence, he would be under the necessity of
again wetting the wall close to this dry and hard painting, the
damp spreading into the portion of the picture completed, and
staining it. Again he would have to prepare on each occasion
a new stock of ground colours and to match them with those on
the wall, no easy task. The conditions of fresco painting were
the same then as now, and it is always desirable for many reasons,
when a work is commenced, to prosecute it till it is finished.
Technically considered, the frescos in the Pauline Chapel, not-
withstanding these unfavourable circumstances, are executed
with extraordinary care, the surface is very smooth and even,
the joints are for the most part imperceptible, showing very fine
manipulation.
As works of Michelangelo in his old age they can only be
spoken of with respect, yet at the same time with a feeling of
sadness for it is evident that his powers were decaying, but
apparently not his confidence in those powers. The absence of
any study of nature is still more evident, than in the fresco of
the last Judgment, he no longer made use of the living model,
but drew and painted from memory; manner has completely
usurped the place of style, and in these pictures this greatest
draughtsman who ever lived has shown the danger of such a
system. Notwithstanding his marvellous gifts and cultivated
power, he is unable to arrest the sympathies or awaken interest
in works so entirely artificial and devoid of nature. It is painful
to find so great an example, as Michelangelo once was, of the
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504 MICHELANGELO
careful study and observation of nature, finally abandoning that
path which in his vigorous youth he evidently considered the
only true one.
The dominant ideas resemble those which prevailed in de-
signing and painting the last Judgment, all the figures have the
same characteristics, but more feebly rendered. Muscular and
rather common place looking naked men fly in the air or lounge
on clouds, and these represent the angels of heaven. Christ,
strongly foreshortened, darts down towards the prostrate Paul,
whilst the muscular angels look on with utter indifference.
This figure of the Saviour is without dignity, it is only a re-
markable achievement in the art of fore-shortening. In a bare
barren landscape beneath, with an ill drawn Tuscan village in
one corner, are Paul and his companions, and his terrified horse.
An attempt is made to embody the excitement of the scene, there
is evidence of the former vehemence and impetuosity of the noble
artist, but one characteristic is gone, his power of representing
living motion. Christ and angels fly, mortals beneath are in
the attitudes of extreme agitation or run from the terrible scene,
but all are petrified, in the attitudes of motion, but motionless.
There is over both the pictures the shadow of the greatness
of Michelangelo, but looking on them, the prevailing feeling
must be that of regret, for it is evident that the decay of his
noble faculties had commenced.
He sadly remarked to Vasari that these works had cost him
cmuch fatigue, for it happens that painting, and especially
fresco painting, is not an art for old men.» In March of the
year in which he finished his work in the Pauline, he thus wrote
of his health to his nephew : « I have been very ill, groaning all
night with pain, unable to sleep, without rest,* the Doctors tell
me that my disease is stone.... I have need of help from God,
tell Francesca to pray for me, if she saw how I am, she would
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AND HIS WOBKS 605
know that she has a companion in misery. Otherwise I am
like a man who is not quite yet thirty years of age. » l
On the twenty-third of the same month he again wrote to
Lionardo, that by drinking a certain water, he had been in a
great measure relieved of his cruel malady. It was whilst thus
tortured and, as he elsewhere says, hardly able to movte, that the
brave old man mounted his scaffolds in the Pauline, and painted
in fresco, that art which he truly said «was not for the aged.*
Within the year in which he finished the pictures of the
Pauline Chapel, Michelangelo wrote his often quoted letter to
Messer Benedetto Varchi, containing his estimate of the com-
parative claims to superiority of sculpture and painting, in
which the subject is very slightly discussed; whilst all may agree
with him as to the inutility of the discussion.
It is of interest as showing his opinions, especially during
the earlier part of his career, when he produced paintings re-
sembling sculpture in their composition and aim. His letter
shows that he meant them to be so. Its date is Rome.... 1549.
« Messer Benedetto. That you may be aware that I have
received your book. I shall reply to your question although
imperfectly. It appears to me that painting is most esteemed
the nearer it approaches to the relief of sculpture, and that sculp-
ture is defective the more it resembles the flatness of painting.
It used to be my opinion that sculpture was the lamp of paint-
ing and that the difference between them was like that which
exists between the sun and the moon. But now that I have
read in your little book that, philosophically considered, those
things which have a similar end, are one and the same, I have
changed my opinion, and I say that if greater judgment and
difficulty, impediment and labour, do not confer higher noble-
1 Michelangelo's Letters. British Museum. Gaetano Milanesi, p. 148.
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506 MICHELANGELO
ness, then painting and sculpture may be considered equal, and
this being admitted, it follows that no painter should under-
value sculpture nor should any sculptor depreciate painting.
Sculpture I understand to be that art which results from taking
away that which is superfluous whilst painting is produced by
adding substance, enough said, both come from the same intel-
lect, and peace may be made between them, and disputes avoided,
for more time is thus lost than would suffice to make statues.
He who wrote that painting was a more noble art than sculp-
ture, if he shows equal capacity in all else that he has written,
my servant would have done as well. An infinite number of
things not yet discussed might be said of these arts, but as I have
observed too much time would be required and I have little to
spare. I am old, almost numbered with the dead, therefore I
pray you have me excused. I recommend myself to you and
thank you as much as in me lies for the honour which you have
done me which is more than I deserve. » l
Yours
MlCUELAGXIOLO
in Rome.
In his anxiety for the preservation of the frescos of the Sixtine
and Pauline Chapels, Paul III constituted a new office, that of
guardian and cleaner of the frescos. After describing its emol-
uments and privileges, the papal letter goes on to say, that the
office bearer is required « to clean well and to keep clean the
pictures of the vault from dust and other defilements and to
preserve them from the smoke of the lights which ascends in
both Chapels during the performance of the divine offices. » This
1 Buonarroti Archives. A copy of the period and Michelangelo the younger wrote on
the back of the letter. « Given to me by Cav. Pierantonio di Glulio De Nobili. This
letter besides being published by Varchi in 1549 and afterwards In Venice 1564 by Aldo
may be found in the : » Gaetano Milanesi, c Lettere Plttoriche. » V. I, p. 9.
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AND HIS WORKS 507
charge was conferred on Urbino probably on the recommenda-
tion of Michelangelo, and it might at first sight appear that it
was a function which it was desirable to continue. Possibly it
might have been so, had it been possible to secure a succession
of judicious cleaners, faithful to the memory of Michelangelo,
but as this was impossible, and seeing what ideas of cleaning
have prevailed in disastrous times, and what have been the
qualifications of official picture cleaners, it is matter for thank-
fulness that they were not continued ; otherwise there would be
now no fragment of the original work of the great painter.
Better the dust smoke and cobwebs of centuries of neglect, than
the tender mercies of four centuries of official scourers.
The frescos in the Pauline Chapel have been lately cleaned,
and the dust and effects of smoke removed so that they are
comparatively bright, if they have not been retouched, the expe-
riment is a deeply interesting one, and a report from the artist
of his proceedings would be invaluable. *
What is wanted in every such case is to remove « defilements »
to do all that can be done to arrest decay, and to stop there.
A very noble bust of Paul III which exists at Naples is
attributed to Michelangelo. It represents the Pope at an advan-
ced age, clad in a magnificently embroidered albe, in the rich
border of which, exquisitely finished bas-reliefs of scriptural
subjects are introduced designed in the manner of Michelangelo.
If compared with his other works of the period when this bust
was executed, it may be seen that it cannot be his work. It
is more probably by the very able sculptor Fra Ghiglielmo Delia
Porta who executed the monument of the Pope in St Peters.
1 When I was in Rome access to the Pauline Chapel waa less easy than in former
days. So much having been generously granted to me in the Sixtine I did not press
for any unusual privilege in the Pauline nor ask for ladders. I therefore could not
closely examine the frescos. I did so in 1842 and then learnt to appreciate the careful
execution.
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508 MICHELANGELO
The Pauline Chapel being finished Michelangelo soon afterwards
lost his devoted friend and protector Paul III, who died on the
tenth of November, literally of a broken heart caused by the
ingratitude and misconduct of relatives on whom he had con-
ferred many benefits.
On the twenty -first of December Michelangelo thus wrote to
his nephew:
« Lionardo. In reply to your last it is true that I have felt
great sorrow, and not less a sense of loss in the death of the
Pope, for I have been advantaged by His Holiness and hoped
to be still more so. Thus it has pleased God and we must
submit. His death was becoming and he retained his faculties
to the last. May God have mercy on his soul.»
It might be wished that this letter had contained less refe-
rence to his personal interests, but on the other hand it was
written to a near relative, to whom it was of special importance
to know what effect the loss of such a friend would have upon
his uncle's position and prospects.
Paul HI was succeeded by Cardinal Giovanni Maria Ciocchi
del Monte San Savino who became Pope with the name of Ju-
lius HI on the seventh of February 1550. Whatever his quali-
ties otherwise, he entertained a warm regard for Michelangelo
and admired his genius. Before the close of the first year of his
Pontificate he sought his advice and assistance being desirous of
erecting two monuments, one to memory of his uncle Cardinal
Antonio Del Monte and the other to his grandfather Fabian o; Mi-
chelangelo thus refers to the subject on the first of August 1550
in a letter to Vasari: « The Pope being gone to San Pietro in
Montorio sent for me. I was not in time, but I met him on the
bridge and we had a long conversation, when he told me that
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AND HIS WORKS 509
he had resolved not to put these monuments on the Mount, but
in the church of the Florentines, and he requested me to pre-
pare designs. I encouraged this idea, thinking that by this
means that church might be completed. » The designs were
made by Giorgio Vasari who acknowledges that they owed much
to the oversight of Michelangelo, and Ammannato was appointed
sculptor.
Julius was somewhat of a bon-vivant and of a careless temper,
it may be owing to this that he neglected for some time to confirm
Michelangelo in his office, thus exposing him to renewed machina-
tions on the part of those whose interest it was to remove him
from the oversight of the fabric of St Peters.
T\\e position in which Michelangelo, and it is to be presumed
many others were placed between the death of one Pope and
the election of another, was one of anxiety and uncertainty.
It seems strange that so long a period should have to pass after
the election of Julius, who was so much his friend, before he
was confirmed in his office as architect of St Peters. From his
letters it would appear that he was obliged to push his claims
to consideration. Writing to Lionardo in August 1550 he says:
x« Since receiving the Trebbian wine and the shirts, I have not
had occasion to write to you till now, when it would be advan-
tageous to me to have two Briefs of Pope Paul, one of which
contains the terms of the provision which His Holiness made for
me for life, when in Rome in his service, the which Briefs I
sent to Florence with other writings in the box which you re-
ceived a year ago and which must be in certain tin cases which
you know. Put them into a packet with wax-cloth-cover and
into a small well corded case, and send them to me by a faithful
person.... I wish to show the Pope that he may understand,
1 Buonarroti Archives.
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510 MICHELANGELO
that by these briefs, I am creditor for I believe, two thousand
crowns due by His Holiness, not that this may benefit me, but
for my satisfaction. »
Whether Michelangelo was ever paid does not appear in the
correspondence. He well knew by experience how much de-
pended on the friendship of the Pope, for notwithstanding his
works, his greatness and his noble self sacrifice, he. was the mark
at whom many enemies aimed their arrows ceaselessly. It is pos-
sible that some such thought filled his mind when, in one of the
finest of his drawings, he represented a throng of archers shooting
their arrows at a stainless scutcheon whilst love sits weeping on
the ground.
Although it is to retrograde, the following example of the wild
slander to which he was so frequently exposed may be related.
Very soon after his appointment as architect of St Peters, he
was bitterly attacked by a certain Iacopo Del Conte, a Floren-
tine artist, whose name is thus held up to merited infamy by
Qiovanfrancesco Ughi a friend, who thus wrote to Michelangelo
upon the fourteenth of May 1547 :
« For some time I have not written to you, nothing having
happened, nor should I have written to you now, were it not,
that Iacopo Del Conte has come here with the wife of Nanni di
Baccio Bigio and he says that he has brought her here, Nanni
having so much to do on account of St Peters, and amongst
other statements he says that he is to make a model to over-
throw your design, seeing that you are doing mad and childish
things which by every means he will cast to the ground ; that
he is in as much favour with the Pope as you are, that you
throw away an infinite amount of money, and that you work at
night so as not to be observed, whilst you follow in the footsteps of
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AND HIS WOBKS 511
a certain Spaniard who is as ignorant as you are of architecture.
Nanni, he says, remains in Rome in spite of you although you
did everything to drive him away, but knowing that the Pope can
do no good thing without him he is resolved to stay. So much
the more will he have reason to stay when he shows his model.
Not only does he say all this, but many other things against
your honour and good fame, amongst which, that you have made
a model for the cornice of the Farnese so enormous, that although
it is of wood only, they have been obliged to shore the walls,
and he hopes that you will ruin that palace so that ruin may
fall on yourself. Thus he utters a thousand follies about you,
which vex your friends, for your honour is somewhat touched.
Although he is not generally believed, still he goes about slan-
dering to such an extent, that it is said, he has found some to
believe him.
I have resolved to advise you of this, that insolence may meet
its chastisement. You have preserved your honour, and although
I know that one should not write of such things, I am compel-
led to do so, by the insolence and brazen dishonesty of speech
with which he calumniates you, apparently he knows no other.
For this reason, I write to you. God protect you.» l
Michelangelo lost no time, but sent this letter to Messer Bar-
tolommeo Ferratino one of the Deputies of the fabric of St Peters
writing upon it :
« Messer Bartolommeo, for any sake read this letter and con-
sider who these two greedy persons are, who thus have lied as
to what I have done at the Farnese Palace, and thus lie regard-
ing the information which they give to the Deputies of the fa-
bric of St Peters. This comes of the favours which I have done
them, and nothing else was to be expected of two vile rascally
peasants. » *
1 Buonarroti Archives. * Written on the outside.
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512 MICHELANGELO
Vasari relates how the Sangallo sect, as he terms the enemies
of Michelangelo, who had turned them out of office and em-
ployment ; by their repeated attacks on his work induced the
Deputies of the fabric to make an appeal to the Pope for in-
quiry. His Holiness summoned them together with the Cardi-
nals Salviati and Cervini to meet Michelangelo, to whom the
Pope said : « The Deputies maintain that the alcove of the
king which you have made in St Peters where there are three
chapels with three windows above, will have too little light. »
Michelangelo according to Vasari answered : « I should like to
hear what the Deputies have to say » whereon Cardinal Marcello
replied, « We are they. » Michelangelo said : « Monsignore, above
these windows in the vault which is to be built of traver-
tine there are to be three others. » « You never told us so »
answered the Cardinal, whereon the resolute artist « I am
not, nor will I ever consent to be obliged to explain, either to
your Eminence or to any one, what I mean or will to do.
Your office is to find money and to guard it from robbers, and
the design of the building is my charge. » Then turning to the
Pope he said: . « Holy Father you see what I gain, if thp labour
which I undergo does not benefit my soul, I lose time and work..»
The Pope who loved him laying his hand upon his shoulder
said. « You benefit both soul and body, have no fear. »
This graphic anecdote of Vasari, not only shows what Mi-
chelangelo was exposed to at the commencement of the new .
Pontificate, but the resolution of the Pope to protect him, and
he must have done so effectually, although he did not renew
the Brief of his predecessor or confirm Michelangelo in his po-
sition till the twenty-third of January 1552, when he renewed
all his powers in the most ample manner, placing him iQ full
and absolute authority and at. the close of the document forbid-
ding any one to change or alter any portion of his design.
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AND HIS WORKS 513
It is pleasant to observe in the correspondence of Michel-
angelo in his old age evidence of happiness and of a calmer
spirit and gentler mood; although much harassed whilst direct-
ing the works of St Peters, he appears to have been less provoked
by opposition, conspiracy and slander, than in former years.
Corporeally he suffered intensly from his malady but he expresses
himself on this subject with resignation. Evidence of his strong
religious faith and feeling is present in many of his letters toge-
ther with the warmest sentiments of affection for his relatives.
He thus expresses himself to Lionardo in April 1549: « With
regard to my disease I am better and now there is hope to the
astonishment of all, for I was thought to be dying and so I also
believed. I have had a good physician, but I believe more in the
efficacy of prayer. » His earnestness in his religious belief is
shown by many expressions as well as his quickness in detecting
hypocrisy. « To day I have had a letter from that wife of the
weaver, who says that she wished to provide a wife for thee, a
daughter of Capponi and his wife Niccolini.... she has written
me a long bible with a small sermon advising me to live right-
eously and to give alms, and she says that she has persuaded
thee to live like a christian and that she was inspired by God
to give thee that damsel. I should say that she would be better
occupied spinning and weaving than disposing of so much sanc-
timoniousness. »
Michelangelo frequently alludes to the making of his Will in
his correspondence with his nephew and even consults him as
to the disposal of his property. Whilst his remaining brother
Sigismund lived he proposed to divide it equally between him
and his nephew Lionardo, and failing heirs of the family name,
all was to be imherited by « San Martino, » that is the income
was to be given for the love of God to the modest poor. »
88
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514 MICHELANGELO
His charities were frequent and generous, and in a number
of his letters he expresses his sympathy with poverty stricken
respectability.
In the correspondence thus briefly alluded to, most of which is
preserved in the Buonarroti Archives, he consults his nephew
with frankness and cordiality, frequently indulging in affectionate
expressions, after the marriage which gratified him so much.
Amongst the letters addressed to his nephew at this time the
following has a peculiar interest. On the seventh of March 1551
he thus refers to his lost friend Victoria Colonna :
« Messer Giovanfrancesco (Fattucci) asked me about a month
ago for something of the Marchesa di Pescara if I had it. I have
a small book in parchment which she gave me ten years ago
in which there are one hundred and three sonnets, not counting
those which she sent me afterwards from Viterbo which are forty
in number, which I bad bound in the same volume and I lent
them to many persons, so that they were printed. I have be-
sides many letters which she wrote me from Orvieto and Viterbo.
These are what I have of the Marchesa. Show this to the Priest
and tell me what he says. » x
During the Pontificate of Julius III Michelangelo passed his
life in comparative freedom from attacks and opposition. His
letters to Lionardo and his friends make no allusions to enemies
or personal trials on their account, but he not unfrequently al-
ludes to the spirit in which he conducted the building of St Peters
c for the love of God and the benefit of his soul. » The dome of
St Peters whilst it was so noble a creation of his genius and
self sacrifice, was also in every sense a religious work in his
»
estimation.
His correspondence also indicates a cheerful spirit and inte-
rest in others. In 1552 he thus writes to Benvenuto Cellini:
* British Museum. Buonarroti MS. Published by Oaetano Mllanesi, p. 270.
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8T. PETERS IN PROGRESS
TIME OF MICHELANGELO
PLATS 19.
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AND HIS WORKS 515
« My Benvenuto. For many years I have known you for
the greatest goldsmith who ever lived, now I shall know you
as an equally great sculptor. Know that Messer Bindo Altoviti
took me to see his bust in bronze and told me that it was done
by you. I was greatly pleased with it, but it was put in a
very bad light: if it was well lighted, it would be seen what a
beautiful work it is. »
Various letters follow which are of great interest as they
explain his motives for not leaving Rome and returning to Flo-
rence, when pressed to do so by his friends. He was desirous
of carrying the edifice so far, that there would not be much risk
of his successor altering the design.
In 1554, attempts were made also on the part of Dukp Cosmo
to induce Michelangelo to leave Rome and St Peters and to return
to Florence. Vasari was employed to open this negotiation and
received the following reply to his first letter:
Rome, 19th September 1554.
« Messer Giorgio dear friend. You will say that I am crazy
and too old to make sonnets ; but because so many say that I
have become childish I will show my gift. From yours I see
the love that you bear me, and be assured that it would be %
dear to me if my feeble bones could lie beside those of my fa-
ther as you pray me, but did I depart now I should be the cause
of ruin to the fabric of St Peters, of a great shame and sin.
But once the design is carried so far that it cannot be changed,
I hope to do what you write, whilst it is no sin to keep up the
discomfort of several greedy people who long for my departure. »
MlCHELAGNIOLO BUONARROTI
In Rome.1
1 Letters of Michelangelo published by Gaetano Milanesl, p. 534.
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516 MICHELANGELO
In March 1555 Michelangelo lost his friend Pope Julius III.
In the following April the admirable Marcellus was elected su-
preme Pontiff. It is impossible to say what might have been
his disposition towards Michelangelo, he was too good a man to
act unjustly, but Vasari's anecdote of the conduct of the Deputies
shortly after the election of Julius shows that Marcellus was pre-
judiced. He reigned only twenty -two well spent and useful days
and was succeeded on the twenty-third May by Cardinal Gian
Pietro Caraffa who took the title of Paul IV.
The efforts of Duke Cosmo to induce Michelangelo to leave
Rome were renewed through Giorgio Vasari, who received a
reply written in the same spirit and nearly in the same words
on the eleventh of May 1555:
« I was placed by force over the fabric of St Peters, and I
have served for eight years, not only as a free gift, but to my
great loss and discomfort ; now that progress has been made and
now that there is money and that I am about to turn the cupola,
if I departed, it would be the ruin of the fabric, it would be a
reproach to me throughout Christendom, and a grievous sin on
my part. Therefore my dear Messer Giorgio, I pray you, to
thank the Duke for his noble offers which you have written to
me about, and to beseech his Highness that with his grace and
permission, I desire to remain here till I can leave with repu-
tation, honour and without sin. »
Yours
MlCHELAONIOLO BUONARROTI. l
Then again he writes on the twenty-second of June of the
same year:
1 Buonarroti Archives published by GUeta.no MlUnesI, p. 587.
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AND HIS WORKS 517
• •»-.'"
it;
T.
. / « Messer Giorgio my dear friend. One of these evenings
there came to my house a discreet and well-bred young gentle-
man Messer Lionardo, chamberlain of the Duke; with many
kindly demonstrations he made me the same offers on the part
*~ - of his Highness which you did in your last. I answered him
*""- as I did you, that I besought the permission of his Highness to
r^L go on with the work of St Peters till it was completed, so that
it might not be altered and another form given to it, for did I
depart before this it would be the cause of great misfortune, a
:>-5 shame and a crime. Thus I pray that for the love of God and
i n of St Peters you will beseech the Duke for me. You must see
I*-: in my hand writing that I touch the twenty -fourth hour, and
i
no thought is now born in my mind in which death is not mixed.
God grant that a few years of labour may yet be mine. »
*:* Yours
^ MlCHELAGNIOLO BuOXARBOTI
•r- „ Rome.
it In other letters Michelangelo uses the same arguments, in some
«.- explaining in plain terms why his absence would lead to such
r ruin of the enterprise, « it would satisfy a number of robbers »
,~ he had set his toot on the system prevalent before he became
architect, of peculation and dishonest gain, and he had been
c ceaselessly harassed by these robbers, ever since he dismissed
them from employment.
Towards the close of 1555, his last remaining brother Si-
gismund died and Michelangelo wrote to his nephew on the
thirtieth of November:
« Lionardo. I learn by your letter that Gismondo my brother
is dead and not without much suffering. We must be submis-
sive, and that he should have died respected by all, and having
partaken of the sacraments of the Church, let us thank God.
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518 MICHELANGELO
I am here in great grief; Urbino is very ill in bed and I
know not what will happen, I am as grieved as if he was my
son, he has faithfully served me for five and twenty years, and
now that I am old I have no time to train another like him,
therefore great is my sorrow, if there be any devout person near
thee, I beseech him to pray for his health. » * Urbino died on
the third of December and Michelangelo wrote on the fourth to
Lionardo expressing his grief and estimation of his old servant
and friend, his sorrow was not of brief duration, for on the twenty -
third of February 1556, he wrote to Vasari regarding his loss:
« Messer Giorgio, dear friend. I write with difficulty, but to
reply to yours I shall* say something. You know that Urbino
is dead; whence much grace of God has been given to me, with
infinite grief for my heavy loss. The grace has been, that
whilst he lived he kept me alive, dying he has taught me 'how
to die without fear, but to welcome death. He has been with
me twenty-six years and I found him loyal and faithful, and
now, that I have made him rich and that I expected him to
be the staff and rest of my old age, he has vanished from me
and no hope is left me, but to see him in Paradise. Of this God
has given me a sign in his happy death, and that it grieved him
to leave me to live in this treacherous world, with its many
sorrows, far more than to die. The best part of me is gone with
him, nothing remains to me, but infinite misery. I beseech
you to make my excuses to Messer Benvenuto (Cellini) that I
do not answer his letter, for such sad thoughts abound in me, that
I cannot write, remember me to him and to you I commend
myself. » *
Yours
MlCHELAGNIOLO BUONARROTI
Rome.
1 Letters of Michelangelo. Gaetano Mllanesi, p. 539.
* Buonarroti Archives. Gaetano Mllanesi, p. SIS.
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AND HIS WORKS
519
So sadly closed 1555 on Michelangelo, and he besought his
nephew to come and see him in his grief: «It would be dear
to me to see you, but I know not how your love of your wife
may permit you to leave Florence* and again «I am old and
I wish to see you before I die.»
It does not appear from the correspondence that Lionardo,
whatever the reason may have been, visited him as he desired.
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Chapter XXI
i y
| ope Paul IV confirmed Michelangelo in his em-
ployments and offices, thereby strengthening his
resolution not to leave Rome or to abandon his
work on St Peters, to which he believed that
he had been divinely called. « I have always
held it to be a condition not to leave Rome, till I have carried on
the building of St Peters so far, that it cannot be altered from my
design nor spoilt, and also not to give an opportunity to robbers
to return and to plunder, as they did before and hope to do again.
These have been my objects and are so still, to carry out which
many believe, as I do, that I have been chosen by God. » l
The Pope soon after his election, involved himself in a quarrel
with Spain, being bent on destroying Spanish influence in Italy.
The Roman States were consequently invaded by a Spanish
army from Naples, led by the Duke of Alba, which soon occupied
the most important towns and presented itself in the Roman
Campagna, the light cavalry riding up to the city gates. The
1 Letter of Michelangelo. Gaetono Milanesi, p. 896.
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522 MICHELANGELO
Pope had assembled a gallant looking force to oppose the Span-
iards; which he reviewed in person, bestowing his benediction,
with no beneficial effect however, for the papal army was not
composed of fighting men, and he was soon compelled to come
to a truce with Alba, the most courteous and religious of foes,
who conquered cities in the Pope's name, and respectfully-
defeated the troops, whom His Holiness had consecrated to a
very different object.
It was during the course of these events, when the citizens
of Rome were dreading a revival of the horrors of the last occu-
pation, that Michelangelo is represented as sharing in the general
terror and « secretly » fleeing from Borne. The following is his
own account of his temporary absence for forty days:
Borne, 31st October 1556.
« Lionardo, dearest nephew,
Some days since I received thine, to which I did not make
any immediate reply, not having had time; now I shall make
up for my silence that thou mayest not wonder but understand
the cause of it. Rather more than a month ago, finding that
the works of St Peters were going on slowly, I resolved to go as
far as Loreto for my devotion, when in Spoleto, feeling weary,
I remained there to rest; I could go no further for a messenger
was sent after me to tell me that I must return to Rome. Not to
disobey I did so, and thank God am here now, to remain as it
may please God seeing the disturbance which there is. I will not
dilate further except to say that there are hopes of peace which
God grant may be fulfilled. Preserve thine health, pray God to
give his aid. »
Thine as a Father
MlCHELAGNIOLO BlTONABROTI
Some.
To Lionardo, my dearest nephew, Florence.
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AND HIS WORKS 523
Then on the twenty -eighth December he thus expressed him-
self to Vasari. « I have lately had, at some cost of money
and fatigue, a great pleasure in the mountains of Spoleto, in vi-
siting those hermits, so that but a part of me has returned to
Rome, for in truth peaceful existence dwells in these woods. » *
Michelangelo was the very soul of uprightness and truth, there
is not one word in these honest letters which suggest that he
left Rome from any such base motive or in such a manner as
Vasari describes. He proposed to go to Loreto for devout rea-
sons, nothing more natural with his opinions; he made no secret
of his departure, for he was found at once when wanted and
he instantly returned, the enemy occupying the Campagna up to
the gates of Rome. He expressed his wishes for peace, as the
bravest might do, especially if he had witnessed, as Michelangelo
had done, the miseries of war, and in writing to Vasari from
the crowded and anxious city, he alludes with natural longing
to the beautiful dwellings of peace in the woods of Spoleto.
Had Michelangelo wished to leave Rome he had every oppor-
tunity of doing so, by accepting the pressing and flattering in-
vitation of Duke Cosmo, which from a sense of duty he declined,
even when the horizon was dark, and victorious Spanish troops
were -close to the city walls.
Rome, .... May 1557.
« To the Illustrious Duke Cosmo of Florence,
Sir. About three months ago I explained to your Signory
that I could not then leave the building of St Peters, without
harm to it and without reproach to myself, and that to leave it
in the state in which I wished it to be I should require another
year. I understood that your Signory was disposed to grant
me so much time. Now I have another letter from your Sign-
ory pressing me to return sooner than I expected to do, which
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524 MICHELANGELO
causes me much distress, for I am subjected at present to more
labour and trouble than usual with the fabric, the reason being,
that in the vault of the chapel of the King of France, which
is of an unusual and difficult construction, an error has been
made, owing to my inability to visit the building frequently,
from my old age and infirmity. I must take down a great part
of it. Which chapel it is Bastian da Sangiminiano can de-
scribe, as he has been Master of works here, as well as its im-
portance to the whole fabric. This chapel being put right, which
may be done this summer, nothing will remain for me to do but
to leave a model of the whole as I am besought by every one
and especially by Cardinal De Carpi. Then I may return to
Florence to take my rest in death, to the thought of which I try
day and night to accustom myself, so that it may not find me
worse prepared than other old men.
Now to return to my request, I beseech your Signory to con-
cede to me the time needful of one year more on account of the
building, as it seemed to me by your last letter you were sat-
isfied to give me. »
The least of your Signory's servants
MlCHELAGNIOLO BuOXABBOTI
Rome.
Michelangelo wrote at the same time an earnest letter to Va-
sari, which shows how far it was from his wish to leave Rome,
however perilous the times. These letters also indicate the state
and progress of the work on St Peters :
Borne, .... May 1557.
« Messer Giorgio dear friend. I call God to witness that
against my will and by overmastering force on the part of Pope
Paul, I was made architect of St Peters ten years ago. If the
works had been continued as they began I should now, as I
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AND HIS WORKS 525
wish, have returned to Florence. But they have been much
delayed, and slackened at the time when they reached the most
difficult and laborious parts, so that to abandon them now, would
be nothing less than shameful, and to lose the fruits of ten years
labour, endured for the love of God. I have' made these re-
marks in reply to yours, because I have a letter from the Duke,
which has filled me with admiration that he should have deigned
to write to me so kindly. I thank God and his Excellency with
all my heart. But I wander, for I have lost memory and brains,
and writing is a great fatigue to me, for it is not my art. The
conclusion is this, that you may understand what the conse-
quences would be did I abandon the fabric now and leave Rome.
In the first place I should gratify various robbers, and I should
be the cause of its ruin, and perhaps that it should be closed
for ever. In the second place I have some debts due to me, and
a house and other things altogether amounting to some thousands
of crowns, and if I departed without permission, I know not what
would become of these. Besides I am in bad health, suffer in
my reins and side, have stone, and am like all old men. Master
Eraldo will bear testimony that I owe it to him that I am in
life. I have not strength to go to Florence to return here, and
there is too much to settle here, before I can leave permanently
and with no care.... Messer Giorgio I recommend myself to you
and beseech you to recommend me to the Duke, and to do all
that you can for me. As for me it only remains for me to die,
that which I write to you understates the truth. l
I answered the Duke's letter because I was told that I must
do so, but I had little heart for it. Could I ride now I would
have visited Florence and returned. »
MlCHELAGNIOLO BtJOHARROTI.
1 Michelangelo. also suffered from goat. « I have not been able on account of cruel
pain in my foot. > Buonarroti Archive*, 5th July 1665.
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526 MICHELANGELO
These letters may suffice to show how devoted Michelangelo was
to the work, which he had undertaken for the love of God only.
The allusions which he makes to his interest, must refer to his
emoluments as architect of the Apostolic Palace, which he would
have been deprived of, if he had left Rome, where he likewise
had property, having been established there for so many years.
Michelangelo had also reasons of the strongest nature, for not
leaving Rome at this time. Owing to his inability to visit the
works frequently, a serious blunder had been made by the Master
mason in charge. Having a vault of a difficult and complicat-
ed nature to construct, he had, in the temporary absence of
Michelangelo from ill health, prepared all the centerings of one
curvature only, whereas those required, were in the great archi-
tects language « infinite. » A model of the vault had been
prepared, but this evidently did not suffice as a guide. Probably
neither working- drawings nor moulds were supplied, as would
now be the case for each pair of centerings, thus a serious mistake
was made, and the vault which was of travertine stone, was
partly carried up before it was seen by Michelangelo, who hien-
tions it with vexation and states, that the application of the
travertine vault was new in Rome. He here probably alludes
to the method commonly in use of brick arch alternating with
concrete. The error was of a costly as well as a clumsy nature,
for not only would new centerings have to be made, but the
travertine voussoirs would have to be hewn over again. Michel-
angelo wrote able technical descriptions of what had taken place
to his friend Vasari, who published the letters in his biography.
They are interesting, for they show clearly, the great progress
which he had made in practical knowledge. In his early
architectural experience he had depended upon assistants to
make working-drawings, and on his foremen of the works to
direct the building; now in his old age, such had been his mar-
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AND HIS WORKS 527
vellou8 industry, such the penetrating power of his genius, that
since he first studied the technical conditions of architecture at
Carrara, he had now become the best guide, in constructing the
most difficult portions of the basilica of St Peters, the cupola,
and also the vault of an apse with its varied curvatures. He was
not only the designer but the soul of the whole work, and that
when he was suffering from a painful and hopeless disease.
This wonderful old man thus working and enduring, with a
spirit within him which rose superior to his bodily ills and out-
ward trials, returned to the use of his beloved mallet and chisels,
and about this time blocked out the Pieti, which has been already
alluded to. Probably there is a year's labour on it for it contains
four figures life-size, and it was whilst working on this that it
was said, that he struck off more scales of marble in a quarter
of an hour -than three young marble cutters would 'have done
in three or four times that span, whilst the fire sprang from the
marble under his blows. Dissatisfied with the group he shat-
tered it with a steel pick- axe; in all probability as has been
already suggested, because his taste had survived his power of
production. The encountering a little flint in the marble, the
reason usually assigned for his conduct, is not enough to account
for his passion, all his life he had been accustomed to meet
with such accidental defects, which may vex a sculptor, but
not induce him to act like a madman. The group itself explains
why Michelangelo broke it.
It was after this failure in his beloved art of sculpture, that
his cultivated eye and taste and his acquired knowledge of geo-
metry, enabled him to fix the grand proportions and exquisite
curves of the cupola of which he soon after made a model. Thus
when his powers as Sculptor and Painter had decayed, he became
greater far, than ever he had been as an Architect, greater than
any of his contemporaries.
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528 MICHELANGELO
Michelangelo's feeble state of health was marked by his friends
with much anxiety, and they all agreed in fearing that if he
died, his noble design would be altered by succeeding architects,
and for this they had too much reason in the past history of
St Peters. Popes joined in the same sentiment and in their
Briefe denounced all future and contingent departures from the
plans of Michelangelo, but after their deaths their Briefs were
more useless than the parchment on which they were written.
It was therefore proposed that he should make a model of his
proposed cupola of such a size and so detailed that there could
be no reasonable pretence for further transformation. He
mentions this project for the first time on the thirteenth of Fe-
bruary 1557: « There is now added to my labour that I must
make a large wooden model of the cupola and lantern, so as
to leave a complete design of how the whole work is to be fini-
shed. I am besought by all Rome to do this and chiefly by the
most Reverend Cardinal De Carpi, so that I think that I must re-
main a year to do it.... As to the building being shut, that is not
true, there are at present sixty men at work, hewers, builders
and labourers, with every hope of going on. I request that you
will read this to the Duke and I beseech his Signory that he
grant me time to do what is needful before I return to Florence.
For if, as envious men desire, the building is altered, it would
then be as if my labour up to this time had been vain. »
Duke Cosmo was in reality very anxious that Michelangelo
should return to Florence and without committing himself per-
sonally too much he contrived to make his wishes known.
Michelangelo evidently felt himself to be placed in a difficult
position, he represented his unwillingness to the Duke, pressed
it on his attention through his nephew and Vasari and finally
requested the intervention of Cardinal De Carpi who wrote :
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AND HIS WORKS 529
« As I am aware that Michelangelo Buonarroti is much cha-
grined, that on account of the fabric of St Peters he is unable
to satisfy jour Excellency as you desire, and whilst on the other
hand I know/ that our Lord greatly wishes that this good old
man should pass these last years of his life in peace, that he
may thus be enabled to complete at least the model of St Peters,
in which building there can be no doubt, that otherwise, after
his death numerous mistakes 'will be made, so that could he
live to finish it, it would be infinitely for the benefit of the fabric.
His Holiness being informed by me and by others of the per-
plexity into which this good man has fallen, he commissioned
me before I left Rome, that I should write on his part to your
Excellency, that you might be* graciously pleased to allow him
to remain in this service, in which I am much interested, owing
to the charge which I have of the building, which I am certain
your Excellency must have at heart also, considering its pious
and religious use. I beseech you so to reply to me, that that
accomplished and good old man, may with his mind at peace
attend to whatever is necessarily expected from him, in his ex-
treme age for the holy service of God in this celebrated place.
With my usual desire to serve your Excellency, to whose good
graces I recommend myself, with my whole heart praying for
your happiness. »
Your Servant
Cardinal De Carpi.
This letter indicates the personal interest which Pope Paul
took in the building of St Peters and in its great architect,
spite of his absorbing occupations and dangerous political diffi-
culties, whilst the tone in which the Duke of Florence is addressed
is very different from that formerly used towards the Republic.
The Republic would not have dared to press Michelangelo to
leave the Pope's service, and could not protect him when he did
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530 MICHELANGELO
bo, whereas Cosmo offered him a friendly reception and the
highest honours; should he return to Florence. His reply to the
Cardinal shows that he wished it to be understood that he had
limited himself to these offers, and he evidently resented the
hint that the course which he was pursuing disturbed «the good
old man's* peace:
• The rare qualities of Michelangelo led to his being sought
by every one. It need surprise no one that I should wish to
bring him back to his own country, in which it is but reasonable
that he should be allowed to spend his last days in peace and
comfort. I have not sought to take him away from Rome, but
I have been besought by many to receive him and to make
much of him. If he remains in Rome, however it will not bring
upon him my displeasure, if on the other hand he returns to his
country, it would be inhuman and to be without intellect or
judgment, not to welcome him and to bestow on him those
honours and benefits due to him.»
From Pisa.
The question of his stay in Rome being settled, Michelangelo
arranged for the execution of the model: he first made a small
one in clay and supplied this and the .requisite drawings to Gio-
vanni Franzese, who completed the admirable wooden model in
a year, being the time estimated by Michelangelo. It mea-
sures sixteen feet eight inches in height including the drum, cu-
pola, lantern and ball on the top, and twelve feet eight inches in
diameter. 1 The two illustrations have been engraved from mea-
sured drawings expressly made from the model itself, and there-
fore they represent accurately the form of Michelangelo's design
for the cupola as he intended it to be executed.
1 The scale specified in the Illustration is erroneous.
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ELEVATION OP THE CUPOLA
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PLATS 17.
Scale 1 metre to 200
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AND HIS WORKS 531
In the exquisite grace of its general proportions in the majestic
simplicity and repose of its details, it offers marked contrasts to
all Michelangelo's other architectural designs and works, and
it shows, how great an architect he had become in his old days.
In the presence of his noble theme his tendency to redundancy
and eccentricity of part and details vanished, and he rivalled
the architect of the Pantheon of Agrippa, whose noble work he
imitated, in sublimity of general mass and symmetry of parts.
The encircling wall of the drum of the cupola is strengthened
by fourteen buttresses projecting from it, each composed of piers
decorated with two pilasters, in front of which are two cor-
responding columns. The ordetf of architecture selected is the
Corinthian, which is treated with breadth and simplicity of
design, details being omitted which would not have availed at
such a height. The entablature of the drum, breaks into pro-
jections over the buttresses, and it is particularly to be noticed,
that above each of these, starting from the summit of the blocking
course, an abutment Bweeps back or batters, with a beautiful
curve, dying out in the cornice of the attic, just below the pro-
jecting ribs of the cupola. Not only is this admirable in design
but it is equally so constructively and in harmony with sound
principles. On the summit of each buttress a statue is placed, its
weight adding stability, whilst this coronal of Apostles or Saints
would have increased the splendour of the design, when executed.
According to Michelangelo's idea the cupola was formed of
three vaults over each other. Apparently the inner one was
intended to .repeat the curves of the Pantheon, whilst the outer
one was destined to give height and majesty to the building
externally.
In the perfect proportions and beautiful curves of this exter-
nal dome Michelangelo incomparably excelled his predecessors
of every age.
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532 MICHELANGELO
If any surmise may be permitted , founded on observation
only, the inner vault was as above stated, a reproduction of that
of the Pantheon, the central vault, more pyramidal in form, was
constructed to bear the weight of the lantern and approached in
form the dome of the Cathedral at Florence by Brunelleschi.
In July 1547 he wrote to his nephew Lionardo: « I wish you
by means of the concurrence of Messer Giovanfrancesco to
take the height of the cupola of Santa Maria del Fiore, from
the base of the lantern down to the ground, and also the height
of the lantern and send it to me. » This is a distinct proof of his
study of his great predecessor's work whilst designing his own.
Judging by the model he meant the outer dome to be of wood,
thus anticipating the construction of Sir Christopher Wren.
With regard to the details of the entire design, their grandeur
and simplicity are remarkable, and the lantern certainly is one of
the most beautiful creations of the genius of architecture which
exists.
When the model is contrasted with the cupola as it has been
executed, the following differences in design and structure are
notable. In the model the pediments of the windows of the
drum are all angular externally and segmental internally. As
executed they are both outside and inside alternately angular
and segmental. As Michelangelo built the drum, this change
must have been made by himself, and therefore the level to
which the edifice had been carried in 1557 or in 1558 may
be inferred, and the sketch of « St Peters in progress » may
be attributed with probability to 1555 or 1556. The beautiful
curved buttresses bending back from the blocking course ot the
Corinthian piers are altogether omitted, so serious a change as
this is not likely to have been the work of Michelangelo, and
it may be therefore supposed that he did not build the attic;
the effect of the omission is very unfortunate, the curves of the
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SECTION OP THE MODEL OP THE CUPOLA
OP ST PETERS
PLATA 18.
Scale 1 metre to 200
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AND HIS WORKS
533
dome now look stilted, 1 and do not unite happily with the drum,
moreover the successors of Michelangelo increased the swell of
the curvature of the cupola near its spring, thus adding to the
stilted look and seriously impairing the grace of the design.
They omitted entirely the inner lower vault, evidently to give
height internally, and made the external cupola of brick as well
as the internal, and to prevent it expanding had recourse to
encircling chains of iron, which bind it at the weakest parts of
the curve.
Michelangelo intended to employ iron frames
in the masonry of the drum. It is to be pre-
sumed he did employ them, for they are shown in
the model. The woodcut is a hand sketch from
memory of their construction. It may be ques-
tioned whether they would really add to the
strength of the structure. It is not proposed to
follow the history of the building of St Peters
under the direction of other architects. Spite
of the Briefs of Popes and of every other con-
sideration they all departed from the ideas of
Michelangelo as he had done from those of his
predecessors. On his part greatly ^to the ad-
vantage of the splendour and majesty of the building, on that
of his successors greatly to its detriment.
An important statement of expenditure has been preserved
showing the amounts paid from the first of January 1547 to the
sixth of September 1571, iqpluding Michelangelo's period.
From the 1st of January 1547 to the 8th of May 1551, the
sum of 121,554,16 ducats was expended. From the* 8th of
May 1551 to the 19th of April 1555 — 62,911,84. From the
1 When an arch springs from Its abutments with perpendicular lines before its cur-
vature commences, it is said to be stilted.
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534 MICHELANGELO
19th of April 1555 to the 6th of June 1561 — 105,115,12.
From the 6th of June 1561 to the 6th of September 1571 —
147,778,82 ducats.
The Buonarroti Archives contain interesting letters directed
by the widowed Queen of Henry the second of France, Cathe-
rine de' Medici, to Michelangelo, entreating him to undertake
the execution or at least the design of a Monument to her dead
husband's memory. The first letter was written soon after his
death from an accidental wound received in jousting and was
written from.
Bids the xiiij day of November 1559.
€ After the deplorable accident to his most Christian and
Serene Majesty the king my Lord and Husband, no greater
desire remains to me than to commemorate his name, my fer-
vent and true love for him and my present grief. Amongst
other projects with this object I have resolved to erect, in the
court of my palace, an equestrian statue in bronze of my Lord
of such proportions as may suit that place. And as I am aware
in common with all the world how excellent a Master you are
in art, above all others of this age, whilst you have been at-
tached to my family as is clearly shown by the statues on the
monuments of my relatives, I beseech you to accept this under-
taking. I am aware that you might to another plead your
great age, but I believe that you will not make this apology to
me, or at all events that you will make the design and employ
the best Masters to be found, to cast and chase it.
No one, I assure you, in the whole world, could do me a
greater favour or one for which I should be more grateful.
I write to my cousin Robert at this time, and I say no more,
leaving it to him to explain on my part, therefore without more,
and praying God to preserve you in happiness. »
Catherine.
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AND HIS WORKS 535
Robert Strozzi the cousin of Queen Catherine went to Rome
and saw Michelangelo, who undertook to make the design, but
recommended that Daniello Ricciarelli of Volterra should make
the model for casting in bronze. Strozzi, as related by Vasari,
soon came to terms with Ricciarelli for the price of the group
which was to be of colossal proportions. The Queen again
wrote to Michelangelo by Bartolommeo Del Bene to communi-
cate to him her ideas of the character of the statue of the king :
« After Her Majesty the Queen Mother had signed the letter
to you this morning she commanded me to inform you, that the
head of the statue of the King should be made without curls and
as like the portrait as possible; that the armour should be a
handsome modern suit, and the horse furnishings also. She
has twice insisted by this present, that you should be prayed
to make the head as like the said Lord as is possible. As to
all the rest she places herself in your hands feeling sure that
your perfect judgment and kindness will accomplish all that
she ardently desires, to the admiration of present and future
times. »
Another letter of the Queen states that she(had paid into the
hands of Messer Giambattisty. Gondi six thousand crowns in
gold towards the cost of the equestrian statue and her letter thus
terminates :
«As there remains nothing more to be done upon my part,
I beseech you by the love which you have borne to my house and
country, that you will have the goodness to be willing, with
such diligence and assiduity as your years permit, that every
thing be done in this worthy work, that it shall be recognized
as a resemblance to the life, of my Lord, and with all the usual
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586 MICHELANGELO
excellence of your art. Although by it you cannot increase
your fame, you may augment the reputation of your prized love
towards me and my ancestors and preserve for long the remem-
brance of my true and only love, for which I shall be your
gratefully indebted. »
From Orleans, xxx October 1560.
Your good mistress
Catherine.
The earnestness with which the Queen insists upon the like-
ness shows on her part an apprehension that Michelangelo might
idealize her husband as he had her relatives, make the locks
curled as in their statues, whereas these Medici had smooth hair,
and arm them with Roman or fantastic cuirass and helmet un-
known in any armoury of the time. She therefore returns again
and again to this subject pressing it on his attention in the
most courteous terms, but with the earnest feelings of a lov-
ing wife.
Notwithstanding the prayers or the Queen and the efforts of
Strozzi, the statue proceeded slowly, it was an error of judgment
to place it in the hands of one, now so worn out as Michelan-
gelo was. Daniel of Yolterra modelled and cast the colossal
horse, but both artists died before the statue of Henry was
sculptured. At a later period an effigy of Louis XIII was
mounted upon it, the work of the French sculptor Biard and by
the directions of Cardinal Richelieu, was erected in the Place
Royale.
It was principally as an architect that the advice of Michel-
angelo was sought in the last years of his active life. The
stormy Pontificate of Paul IV terminated in 1559 and he was
succeeded by Giovan Angelo Medici with the name of Pius IV.
By a motu-proprio he confirmed Michelangelo in his offices and
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AND HIS WORKS 537
undoubtedly was his friend and well wisher, which he showed
in a welcome way. The annoyances to which he had been
subjected by a miserable charlatan Nanni di Baccio Bigio have
been already adverted to ; this impudent pretender succeded in
being appointed by the commissioners to an important office in
connection with the works of St Peters in spite of the opposition
of Michelangelo. This monstrous appointment was made accord-
ing to a letter of Tiberio Calcagni addressed to Lionardo Buon-
arroti in the following manner :
« There is nothing new, except the death of Ceseri overseer
of works, who being found by the cook of Monsignor di Forli,
with his wife, was stabbed in thirteen places, and the wife in
four; on which account the old man is in trouble, seeing that he
wished to confer the place upon Pierluigi Q-aeta, which he has
not been able to do as the Deputies would not hear of it. »
They appointed Bigio, instead of the person selected by Michel-
angelo. Who presented himself to the Pope and complained
with his usual uncompromising frankness, adding : « Holy
Father the Deputies have appointed as my substitute a man
whom I do not know; if it appears to them and to your Holi-
ness that I am no longer fit for my position I shall return to
Florence where the Duke desires to see me, and I shall end
my days in my home, therefore I beg to be permitted to retire. »
The Pope spoke to him graciously and asked him to return
when he had seen the Deputies who were summoned to his
presence. On being asked to explain, they said that the edifice
was going to ruin and that errors were made. His Holiness
sent his relative Gabrio Serbelloni to make inquiries with powers
to act, and he having ascertained the falsehood of the accusations
and traced them to Nanni Bigio, that pretender was publicly
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538 MICHELANGELO
dismissed. Vasari remarks: « Such was the end of Nanni in
the fabric of St Peters by which it may be seen that God is the
Protector of good men. »
Whilst there can be no doubt of the incapacity and party spirit
shown upon the occasion of this appointment, it is sufficiently
obvious that Michelangelo was far from conciliatory, was in his
consciousness of power, excessively arbitrary, and probably no
public body, especially a public body composed of such high
dignitaries, could have borne patiently with the treatment which
the Roman Deputies, or Board of works, experienced at the
hands of Michelangelo.
The following is an official report of their case in relation to
the building under their charge, translated as literally as pos-
sible from the Latin of that day :
« From the year 1540 when it was seriously and advisedly
intended to put (it) in order and commence almost from its
foundation, up to the year 1547, when Messer Michelangelo
undertook on his own responsibility partly to build up and
partly to pull down, 162,624 ducats were expended, but from
that time forward the Deputies carried on the work like par-
rots, knowing nothing, neither what was spent, nor in what
manner, but (acting) in accordance with the orders of the said
Messer Michelangelo: such being the command of Paul III of
happy memory. Now our Holy Lord, up to the present day
136,881. 13 ducats were spent; as may be seen by the books of
the Depositaries. But with regard to the building itself whatever
it may become, the Deputies cannot be held accountable (can
render no account) for every thing is concealed from them as
from (persons) unconnected (with the work). This, only for
the exoneration of their conscience ; they have several times
testified and do again testify that they do not approve of the
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AND HIS WORKS &39
plan which Messer Michelangelo carries out, above all in respect
of his demolitions, for so considerable are the demolitions which
have been already made, and which are daily made, that all
who behold them feel in the highest degree indignant However
if His Holiness is satisfied so also will his servants the Deputies
be perfectly satisfied. »
This is a very strong statement, and it was not altogether
that of personal enemies. Cardinal De Carpi, one of the De-
puties or Commissioners, was Michelangelo's friend, and honestly
believed him mistaken in the course which he was pursuing,
and so expressed himself. This reaching Michelangelo he wrote
to the Cardinal as follows, and his letter may be taken not only
as his expostulation with the Cardinal, but as his defence.
Rome, 13th September 1560.
« Illustrious and Reverend Lord my good Master,
Messer Francesco Bandini informed me yesterday that your
most Illustrious and Reverend Lordship had said to him that
the building of St Peters could not go worse than it was doing,
this has greatly grieved me for you have not been told the
truth, nor remembered that I above all men ought to desire that
it should go well. I believe, if I do not deceive myself, that at
this time I can assure you, that the works could not go better.
But as this statement may arise from my personal interest in
them and also frotfi my old age, I may easily deceive myself,
and so contrary to my intention I may do harm to the building.
I intend as soon as possible to ask the permission of His Ho-
liness our Lord to resign; and now to save time I supplicate
your most Illustrious and most Reverend Lordship to set me free
from this trouble, in which by the commands of the Popes as
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540 MICHELANGELO
you are aware I have served seventeen years gratis. In which
time it has been manifest what has been the nature of my work
on the said fabric.
I beseech you to grant me leave as you could not render me
a greater service, and with all respect I kiss the hand of your
most Illustrious and most Reverend Lordship.
The Humble Servant
Of your Most Illustrious
and Host Reverend Lordship
MlCHELAGXIOLO' BUONARROTI.
Michelangelo's opinion is very clear. The office of architect
was none of his seeking, it had been forced upon him, but at
the same time absolute power over the design and fabric of the
building had been granted him, and he served without pay of
any kind. He was brought into collision with a powerful body
of Commissioners most of them of high rank, and he would not
conciliate them, he regarded their province as different from
his, in his eyes they were to use a modern phrase, a financial
Committee only, and he conducted the design and fabric of
the building without deigning to consult or even notice them.
He reduced them to puppets, or in their own indignant language
« parrots.* With his great and acknowledged capacity, and his
established reputation it seems probable that a more conciliatory
course of conduct upon his part might have carrried the Com-
missioners with him, which would have been better for his peace
as well as for the perfect success of his great work.
In 1558 Michelangelo corresponded with reference to the stair
of the Laurentian Library and supplied a model to Ammannati
who at the time was the architect, but his plan was for some
reason not adopted and the stair as it now exists is the work
of Vasari. It is a singular circumstance that up to the present
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AND HIS WORKS 541
*ft time this entrance never should have been finished. Respect
«k? for the memory of Michelangelo might have induced the Flo-
rentines to carry out his design, especially as there is not much
fflii: now required, for its present state undoubtedly is very discred-
it ii itable.
if, Notwithstanding his advanced years and numerous avocations,
Michelangelo took an active interest in the Church of St John
of the Florentines at Rome, and he corresponded with Duke
ta> Cosmo as to the best plan for completing it and furnished five
ok designs of which he himself entertained a high opinion and did
not hesitate to express it. The church as it now exists does
not represent any of these designs and it is therefore needless
to dwell further on the subject.
Pope Pius also employed him to make designs for several of
the city gates which he wished to rebuild with greater archi-
tectural magnificence. Judging by the ancient gates still re-
maining, grand, picturesque and interesting erections were pulled
down and replaced by others of a pretentious, but for the most
part tasteless character, amongst which may be included even
those by Michelangelo. The Porta Pia is not a favourable
example of his design and is very inferior to the Porta Santo
Spirito by Sangallo. It was commenced under Michelangelo's
direction in 1560 the contract for the building being preserved
in the Archives of the State in Rome, and it was completed in
1565 at a cost of 8518. 36 crowns. The Porta del Popolo is also
said to be by Michelangelo, it is a reproduction of the Arch of
Titus, the order being changed to the Roman Doric. The
profiles are excellent and contrast favourably with his early
design.
The grandest work of Michelangelo's old age, St Peters ex-
cepted, was the Church of Sta Maria degli Angeli and the Convent
built within the circuit of the ruined baths of Diocletian in Rome.
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542 MICHELANGELO
A vast hall with red Egyptian granite monolithic columns
existed, but what else of the time of Diocletian, except huge
masses of brick wall and arches it would be difficult now to
determine.
By looking at these remains of late Roman work, and the
ground plan of Michelangelo's design, it will be seen that he
availed himself of the largest open spaces within the ruins, and
of the granite shafts, the design and arrangement of the modern
building being entirely his own. Nothing exists in architecture
which excels the plan of this church in beauty and variety of
form, including the adjoining light and graceful cloisters and
the picturesque dwellings of the Carthusians.
The general proportions are so harmonious, the lines of the
plan so gracefully disposed, the form of the whole so original,
that without looking at the elevations, the eye is delighted by
the evidence on all sides, of the imagination, taste and skill,
shown by the venerable architect in this superb work.
The gigantic granite shafts alone are ancient, they are mag-
nificent remains of a period of lamentable decay in architec-
ture, in which however ideas were fixed, which influenced later
styles to a remarkable extent. The architrave from column to
column was dispensed with and the arch took its place, thus
laying the foundation of the prevalent principle in medieval
architecture, whilst forms which were developed in this dark
age of Roman building, reappeared with superadded grace and in-
finitely greater skill of execution in the art of the Renaissance.
The interior of this fine church in its present state with
superadded ornament of late date is no more to be criticised as
Michelangelo's design, than the present interior of St Peters.
The cloister is built in the usual manner, in a style which
prevailed amongst Arab as amongst Christian -architects, light
and unsubstantial columns, bear arches of simple and unadorned
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AND HIS WOEKS 543
design, which lest they should collapse or cast down their feeble
abutments, are bound together with iron rods. A pleasant
lightness and even grace are attained, at the cost of truthful
and safe principles of construction. Above the cloister is an attic,
containing cells in the usual way, in the external design of which
Michelangelo has returned to the thoughts of his younger days
when he built the Laurentian Library, so entirely is the taste
the same.
In the centre of this bright and sunny cloister surrounding
a fountain of clear water stand the mighty cypresses which it is
said that Michelangelo planted, it is a pleasant and interesting
tradition.
The huge gnarled stems, the sombre foliage, the summits
pointing to heaven, and the majestic dignity with which these
noble trees bend to the passing breeze and rise again in their
uprightness, make them fit emblems of Michelangelo.
Pope Pius being desirous of erecting a monument to the me-
mory of his brother Iacopo de' Medici, Marquis of Marignano,
consulted Michelangelo who made the design which was ex-
ecuted at Milan and placed in the Cathedral there by Leone
Leoni. This eminent sculptor had been famous in the first place
as a goldsmith, and as a testimony of his regard for' Michel-
angelo he made a medal of him, with the somewhat singular
reverse, a figure of a blind man led by a dog with this inscrip-
tion :
%
DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE COHVERTENTTO
This was suggested by Michelangelo himself, to whom Leone
. sent four copies of the medal, two in silver and two in bronze
accompanied by a letter dated Milan the fourteenth of March 1561
of which the following is an extract:
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544 MICHELANGELO
« Magnificent and much honoured Sir,
I send to your Signory through Signor Carlo Visconti, a
distinguished man in this city of Milan and beloved by His
Holiness, four medals with your portrait, two of silver and two
of bronze. I should have sent them before this time to your
Signory but that I have been so much occupied by the work,
which through your favour was ordered by His Holiness. I be-
lieve that your Signory will pardon the delay.
The medal which is in the case, is chased and finished and I
beg that you will keep it for my sake, doing with the others
what you please. I have been ambitious enough to send copies
to Spain and Flanders and now from motives of regard to Rome. »l
Leone then goes on to express his sense of the value of Mi-
chelangelo's countenance of him and his hope that through him
he may be further employed.
The letters of Michelangelo preserved in the Buonarroti Ar-
chived become briefer and briefer and he complains of the diffi-
culty which he experiences in writing. There is one of unusual
length written on the twentieth of September 1561 evidently
with the intention of doing an act of justice, which in his multi-
farious occupations had been forgotten. It may be remembered
that early in his career he received an advance of money to
execute statues for the altar of the Piccolomini at Siena and
that he only fulfilled a part of that commission remaining in-
debted to his employer at least a hundred crowns. He thus
writes to:
« Lionardo. I wish thee to seek amongst the papers of Lo-
dovico my father if thou canst find a copy of a contract made
on account of certain statues which I promised to finish after
* Buonarroti Archives.
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AND HIS WORKS 545
the death of Pius the second; which work, on account of certain
differences of opinion, remained suspended for some fifty years.
Now that I am old I wish to settle that matter, so that after
me no claims should unjustly be made upon thee. So far as I
recollect the notary who made the contract at the Episcopal re-
sidence was called Ser Donato Ciampolli. I have been told
that all his papers are in the hands of Ser Lorenzo Violi. If a
copy is not found in the house thou mayst apply to the son of
Ser Lorenzo, do not spare the necessary expense. »
I MlCHELAGNIOLO BUONARROTI.
Then on the thirtieth of November 1561, he again wrote:
«Lionardo. I have had thy letters and one from Antonio
Maria Piccolomini and a contract. I cannot say more to thee
for the Archbishop of Siena of his grace has agreed to settle
this affair, and as he is a good and worthy man I believe that
all will go well. I shall inform thee what is concluded. No
more. »
I MlCHELAGNIOLO BUONARROTI.
It may be assumed that this long outstanding debt was hon-
ourably settled. It appears for the first time in Michelangelo's
letter that there arose a difference of opinion which prevented
the completion of ther commission.
One of the last honours publicly paid to Michelangelo was
his election in 1563 as Vice-President of the Academy of Pine
arts established in Florence by Cosmo, who was himself the
first President. The election by its unanimity showed the res-
pect and regard which his brethren in art felt for their aged
colleague, and it was accepted by Michelangelo although he
was unable to discharge the duties of his office. It was one
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546 MICHELANGELO
more link as it was the last connecting him with that great
Tuscan School of art of which he was the acknowledged head.
The last letters in the Buonarroti Archives indicate that the
evening of Michelangelo's life passed peacefully, he acknow-
ledges cheerfully and with kindness the usual gifts of Trebbian
wine, the vegetables and other comforts forwarded by his ne-
phew. He gave a minute attention to such details especially
where they involved sentiments of a pleasing nature or acts of
goodness and charity, for instance he did not forget to procure
black cloth from Florence to provide Cornelia the wife of Ur-
bino with mourning, he took a deep interest in her affairs.
After her husband's loss she lived with her children at Castel
Durante, where being wealthy she was sought in marriage.
Her letters to Michelangelo show extraordinary ability and he
continued to be interested in her fate and that of her children.
Having, by her decision of character and high principle, escaped
a very bad marriage, which her own father and some others
tried to force upon her she at last contracted another, which was
satisfactory to herself and her kind protector. She possessed
some drawings by Michelangelo which she presented to the Duke
of Urbino when she observed how much he wished for them.
Michelangelo was surrounded by devoted friends and pupils,
or assistants who regarded him with the strongest affection and
respect and his comforts were attended to by trustworthy ser-
vants, who however were maligned in Florence in the usual
way so that Lionardo was induced to write to his uncle on the
subject. The letter of his nephew, finding fault with his do-
mestics, roused the old lion from his repose and he wrote a reply
to it full of the fire of other days.
c Lionardo. I see by thy letter that thou givest faith to cer-
tain envious and sad fellows who not being able to get me into
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AND HIS WORKS 547
their hands and to rob me write lies to thee. They are a set
of greedy ones and thou art foolish to lend them thy faith as if
I was a baby. Get rid of them as scandal mongers envious
and evil livers. With regard to my suffering from bad service,
I say to thee that I could not be better served nor more faith-
fully, and as to being robbed I tell thee that I have in my
house people in whom I can peacefully confide. Think of thine
own living and not* of my affairs for I know how to take care
of myself when needful. I am not a baby. May it be well
with thee. »
This letter shows that Michelangelo was not neglected as was
rumoured in Florence. Duke Cosmo may however have heard
these rumours for be directed his Ambassador at the Papal
Court to be observant and to see that the great old artist was
properly cared for.
Nothing however could surpass the attentions of his intimate
friends who frequented his house and listened to his lessons of
wisdom and his precepts on art. His strength gradually de-
cayed during the Autumn of 1563 and in the winter following.
The excellence of his constitution must have been extraordinary
to resist his painful malady and to bear him as it did through
his sufferings, which he endured with such courage. In Fe-
bruary his friends became alarmed, and Michelangelo felt that
the summons which he had prepared himself for was nigh at
hand.
He sent for his friend Daniel da Volterra, who on his way
called upon Ascanio Condivi and asked him to visit Michel-
angelo, suggesting from motives of prudence that he should do
so without allowing it to be sedh that he was alarmed or that
his visit differed in any way from those which he was in the
habit of making.
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548 MICHELANGELO
As Daniello entered the room where Michelangelo was, he
exclaimed : « Daniello my friend it is all over with me, I entreat
you not to leave me. » He then requested him to sit down and
to write to his nephew Lionardo. Daniello who was greatly agi-
tated and as he himself said, did not know whether he was ill
or well, wrote the letter which Michelangelo signed. This let-
ter was given to Diomede Leoni to be despatched to Florence,
and he inclosed it in one from himself giving an account of the
state of the illustrious invalid.
Leoni was evidently not altogether without hope although
oppressed with apprehension, and from the tone of his letter it
may be inferred that he had reason to think that Lionardo was
not in robust health and could not ride post, especially at a
season when the roads were in bad condition. He wrote as
follows:
Borne, 15th February 1564.
« I have been careful to direct to you the inclosed letter
written by Messer Daniello Ricciarelli da Volterra and sub-
scribed by Messer Michelangelo your uncle, by which you are
informed of his indisposition which began yesterday, and his
desire that you come to Some. I exhort you to come immediately,
but with sufficient care not to place yourself in danger from
riding post by the bad roads, for you are not accustomed to the
violent motion which is also dangerous. You may be careful,
for be assured that Messer Tommaso de'Cavalieri, Messer Daniello
and I, will not fail in your absence, in every duty for your
advantage and honour. Besides Antonio, his old and faithful
servant, can give a good account of himself under whatever
circumstances it shall please Gtod may occur. Antonio wished
to send the letter by a special courier, but as I thought that
this might prove very alarming to you, I counselled him not to
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AND HIS WORKS 649
do so and persuaded him to send it in this way, which I believe
to be as quick and certain as the other. I would again advise
you to depart at once that you may be careful of yourself in
coming.. If the illness of Messere (Michelangelo) is perilous,
which God forbid, then you will not find him alive however
quick you may be, inasmuch as his illness is caused by his ex-
traordinary age and he cannot last long.... But to give you
some account of his state up to the present hour, which is the
third of the night, I inform you that a little while ago I left him
sitting up with a clear mind, but much overcome with a ten-
dency to somnolence, which to drive away he wished between
twenty-two and twenty- three o'clock to attempt to ride, according
to his usual custom of an evening, in fine weather. But the
cold of the season, and his weakness of head and legs prevented
him, so he returned and sat down by the fire which he prefers
to being in bed. We all pray God to preserve him yet for some
years, and that He also bring you here in safety. I recommend
myself to you most cordially and ever. »
Ready to serve you
Diomede Leoxi.
The slow fever which consumed Michelangelo did not yield
to the skill of his medical attendants Federigo Donato and
Gherardo Fidelissimi who were unceasing in their attention,
Whilst he was also watched over by his Master of the house
Antonio who succeeded to Urbino, by Diomede Leoni, Tommaso
de'Cavalieri andDaniello da Volterra. He lived on till Friday
the twenty-third of February, at first he sat up in his chair near
the fire, but the last three days he lay in bed. As he felt death
approaching more nearly he expressed a wish that his remains
might be conveyed to Florence for burial near his own relatives
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550
MICHELANGELO
and in his own beloved city. On the last day of his life not
long before sunset turning to his friends he said « I give my soul
to God, my body to the earth, my worldly goods to my nearest
relatives, when dying my friends, remember the sufferings of
Jesus Christ borne for us, » and so the great and good Michel-
angelo died in peace at the close of his eighty -ninth year.
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APPENDIX
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APPENDIX
BUONARROTI AROHIYBS
Letter of Giovanni Balducoi from Rome to Michelangelo Buonarroti
in Florence, regarding the transport of the group in marble, the
Madonna and Child at Bruges.
illj day of August 1606.
« Dearest Michelangelo. I am informed that Francesco del Pugliese
has the means of sending it to Viareggio and from Viareggio to Flan-
ders. It would he a great satisfaction to me that it should he entrusted
to so honest a man. Therefore I advise yon, that if Francesco del Pu-
gliese will charge himself to send it to Viareggio and thence to Flanders,
employ him. You will arrange as to cost, he is an honest man and all
which you do he will hold as well done, I know not how you could do
hotter. When you have settled with him address it to Flanders, that is
to Bruges to the heirs of John and Alexander Moscheroni and Company
as their property. If Francesco cannot send it to Flanders, then (give it)
to Griuliano Adamo to carry out the instructions of the Bonvisi of Lucca.
Whatever you expend, ask repayment from Bonifazio Fati and Company,
giving due advice. Be patient with the trouble which you have on my
account...
Remember that I am ever yours. Christ have you in His keeping. »
Yours
Giovanni Balduoci
Borne.
Domino Michelagnolo Buonarroti
Florence.
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554 APPENDIX
The obsequies of Michelangelo Buonakboti
Lionardo Buonarroti did not reach Rome till after the death of Michel-
angelo. He found that the body had been conveyed to the church of
the Holy Apostles and that there was a general wish that he should be
buried there. He was however bent upon fulfilling the wish of Michel-
angelo to be buried in his own country, which he loved so well, and
succeeded in secretly removing the body and in despatching it to Florence
in a case as merchandise, to the care of his devoted friend Giorgio Vasari,
who received it at the Custom House on the eleventh of 'March, where the
coffin was sealed and was then with much privacy transported to the
church of San Pietro Maggiore. The members of the Academy of Art
having met, resolved that the body of Michelangelo should be moved with
all honour to the church of- Santa Croce, where his ancestors were buried,
there to await the arrival of his nephew Lionardo.
On Sunday evening all the painters, sculptors and architects in Florence
assembled at San Pietro Maggiore, provided with a velvet pall trimmed
with gold lace and with a crucifix and a number of torches. The young
artists carried the coffin, striving with each other for the honour, whilst
their elders bore the flaming torches. The procession of these well known
persons soon attracted attention, and the news that the body of Michel-
angelo had arrived spread over the city, so that thousands of the citizens
gathered in the streets through which the cortege must pass.
In Santa Croce the coffin was opened to verify the body, and thus
Michelangelo was seen once more by his friends. No decay apparently
had commenced ; he lay as if asleep.
The Academy with the President Duke Cosmo deliberated as to- the
ceremonial to be observed. The Duke proposed that it should take place
in the church of the Medici, San Lorenzo, and he wrote personally to
Messer Benedetto Varchi in the following terms:
< Messer Benedetto our dear friend. The affection with which we re-
garded the rare genius of Michelagnolo Buonarroti, leads us to wish that
his memory should be celebrated and honoured in every way possible,
therefore it will gratify us if you, from your regard for us, will undertake
the oration to be delivered at his obsequies, according to the ceremonial
devised by the Deputies of the Academy, it will be very pleasing to us
if it is delivered by you. »
Pis*, 9th Mtroh 1684.
The Academy appointed Deputies, or as they would now be called a Com-
mittee, charged with the management of the ceremonial to be observed,
with full powers to raise money and to call upon artists to assist Amongst
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APPENDIX 555
so many anxious to take a part it must have been difficult to make a
selection. — A Catafalque was erected in San Lorenzo fifty-four feet
in height and measuring at its base twenty-one feet by seventeen. It
was covered with groups of statuary, reliefs and with paintings the
subjects for the most part having reference to events in the life of Michel-
angelo. The invention of the artists did not stop here, the numerons cha-
pels which surround San Lorenzo were each decorated with hangings and
for each a picture was painted. The whole of these works of art were
executed by excellent artists and their pupils and it is much to be re-
gretted that they have disappeared. On the thirteenth of July, Florence
was alive with expectation, the tradesmen spontaneously shut their shops,
and crowds gathered in and around the church of San Lorenzo. The
Catafalque and High Altar sparkled with the lights of innumerable wax
torches, and at the hour fixed for the ceremonial, the Duke, President of
the Academy, with his guards and distinguished members of his court,
the office bearers and members of the Academy and all the artists then
in Florence entered the church and took the seats prepared for them.
It must have been a magnificent and soul-stirring spectacle, in that
San Lorenzo for which Michelangelo had toiled and suffered for years,
to an amount, and at a sacrifice, for which all that was done on that day
to honour his memory was not sufficient amends, nor has the religious
ceremony, nor the presence of the head of the Medici, nor the sorrow
felt for his loss, wiped out the remembrance of the tyranny of that other
Medici who forced upon the greatest artist of the age « the ignominy »
of those years of unfitting labour in the marble mountains.
With all the pomp and ceremonial of the Church of which Michelangelo
was a faithful adherent, to the sound of appropriate music, the funeral
Mass was sung. The Prior of San Lorenzo with the other Clergy at-
tached to the church being all present. The Mass concluded, Benedetto
Varchi ascended the brazen pulpit to the left of the nave, — a work of
Donatello — and in his clear and beautiful voice, and with his gracious
manner, pronounced an eulogium on the mighty dead.
Thus were celebrated the obsequies of the sculptor, painter and architect,
Michelangelo Buonarroti de'Simoni, who sleeps in the church of Santa Croce
next to the altar of the Cavalcante, surrounded on all sides by other
famous Tuscans, he being one of the greatest of these immortals.
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666 APPENDIX
NATIONAL LIBRARY FLORENCE
Letter of Daniello Biociarblli da Yoltsrra to Giorgio Yabari
Rome, 17th March 1564.
Illustrious and dear Sir,
I received your, to me, most gratifying letter, especially so, at a time
when I am in so much grief, haying lost such counsel and sweet com-
panionship. I knew that I should grieve for the death of such a master
and father; although the evil was foreseen I did not realize how great
it would be. You ask me to give you an account of the things of his
which have been found. What a mistake you made in not accepting
that Christ parting from his Mother, when he was willing to give it to
you: anyhow he never made another, so far as I have observed, and
you will know why. When he became ill, which was the Monday of
carnival, he sent for me, such being his habit whenever he felt unwell,
and I let Messer Federigo di Carpi (Ascanio Condivi) know and he came
at once pretending that it was by chance. When he saw me he said
« Oh Daniello it is over with me, I beseech you do not leave me. » He
made me write to Messer Lionardo his nephew that he might come, and
he told me that I must wait for him in the house and on no account to
leave. So I have acted, although I felt myself more ill than well. His
illness lasted five days, on two he sat up by the fire, for three he lay
in bed, he expired on Friday evening, as we may certainly believe in peace
with God. On Saturday morning whilst we arranged the coffin and other
things, the Judge and Notary came from the Governor on the part of
the Pope, who wished to have the inventory of what there was, this could
not be refused, so it was written. Four cartoons were found, one the
above, another that which Ascanio painted if you remember it, another
an Apostle which he intended to be done in marble, and a Pieta which
he had commenced, but of which the attitudes only of the figures are
observable, it is so slightly drawn. That of the Christ is the best; but
now they are all gone where it will be difficult even to see them, far
more to recover them. However I have reminded Cardinal Morone that
it * was commenced at my request and I offered to make him a copy if
I could have it
Certain little drawings which you may call to remembrance and the Christ
praying in the garden, he had given to his man Iacopo, the companion
of Michele if you remember him, but his nephew will take them from
him to give to the Duke.
1 It is not clear to which of the cartoons reference is here made.
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APPENDIX 567
There were no other drawings. Three statues just begun were found;
one of them being St Peter in papal robes, another a Pieta in the arms
of Our Lady and the third a Christ holding his cross like the one in the
Minerva but smaller and differing from it ! The nephew arrived three
days after his death and immediately gave orders that the body should
be transported to Florence, as he (Michelangelo) had frequently desired
when he was well, and also two days before he died. Thereafter he
went to the Governor to recover the cartoons, and a case in which were
ten thousand ducats together with about one hundred ducats in small
change; which had been duly counted on Saturday when the inventory
was made before the body was carried to the church of the Holy Apos-
tles. The box was at once given to him with all the money which was
sealed, but the cartoons were not given up, and when he asked for them
he was told that it was enough to have given him the money; what will
be the end is not known. My letter becomes too long I think, for once
I have emptied a pitcherfull. Next time I shall write to Michele. Com-
municate this to Messer Giovanbatista Tassi, who did he not know me
so well, would believe that I had forgotten him, it is so long since I
wrote to him. But I hope to be pardoned, it is a labour to me to write
as it is to do everything else.
Your most affectionate servant
Daxiello Ricciabelli.
Letter of condolence from Messer Giorgio Vasari
to Lionardo Buonarroti
Illustrious Messer Lionardo
I have heard of the death of Messer Michelangelo with great sorrow,
who was a father to me by love as an uncle to you by blood. Still more
it grieved me that you did not arrive in time to find him yet living. I am
certain that as the Almighty had bestowed him upon this age as a mi-
racle of rare genius, he has now placed him at his feet, so holy was
his character, that, as by the work of his hands he adorned this world, so
his soul may now adorn Paradise. Various particulars of his testament
have come here, and although I believe that he who writes says the truth,
yet till I hear something from yourself, I am neither happy npr depressed
by what I have heard.
1 Not Improbably the statue which he commenced for Metello Varj see p. 263. It was
like Michelangelo to increase the size and vary the composition in making a second, and
his friend expressed himself rery warmly with regard to his generosity of conduct.
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558 APPENDIX
I would say to you that after your departure, I sent to your house to
the Lady Cassandra to offer her every service in my power, and she, who
is so courteous and kind to your friends and those of Michelangelo, sent
me the letter describing his death and the honours paid to him in Borne,
and stating that he was deposited in the church of the Holy Apostles,
to be thence taken to Florence, a circumstance which has comforted the
minds of all who are afflicted by his loss. If Florence could not enjoy
his presence when alive, she may possess his body and preserve his mem-
ory to her honour, and keep alive the fame of his noble house made
more illustrious, by the rare gifts which were his. I have to inform you
that our illustrious Prince is very desirous that the body should come or
even the bones, and we hear from his Highness who writes from Pisa
that he will not fail to place hip statue in Santa Maria del Fiore. It
would not appear to me inappropriate, Messer Ldonardo, if your return
is delayed, that you should write a letter to his Highness, bewailing the
loss which this city and his Highness have suffered by this death, and
that you lament that he has not left drawings or cartoons or models, as
I have observed that you write, for you would have presented a part to
his Highness. But since he is departed and having left no heir but you,
you will be the same as your uncle in loyalty and service, and as now
there are only the things which are in Via Mozza, ! that these shall be
his, if it so please him, beseeching him at the same time to extend the
same protection to you now, as he did to Michelangelo, who has passed
to another life. It will be of great benefit to you thus to address him.
If you will send your letter to me I will accompany it with one from
myself 'and will do for you, that which you know I have always done,
for the love which was divided between you and Michelangelo is now all
yours. I have now to inform you that our Academy of Art has given
orders to honour him with magnificent obsequies in San Lorenzo after
Easter, with much pomp and with statues and appropriate ornaments,
and they have instructed Varchi to pronounce an oration by desire of
his Highness the President. Four members have been set over this with
powers to call upon all corporations for work and money. One is Ben-
venuto another Ammannato, sculptors, the other two are painters, that is
Bronzino and your friend Giorgio Vasari. Every one will be anxious to
do you honour, Michelangelo now having no need of it, for all his he has
taken with him. It would be dear to me to receive some information from
you and that you should make some notes recalling facts from 1550 till
now, especially about St Peters, so that I may some months hence re-
print my lives of the painters and sculptors and thus I may do honour to
the close of his life. Arrange that you may be able to lay your hands
on the sonnets, songs and other compositions of his, also on letters from N
1 In Michelangelo's house and workshop there.
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APPENDIX , 559
Princes and great men so as the more to honour him. So much I advise.
It will be a great concession and grace on your part if I may receive
from you any sketch of his however slight; besides bearing his memory
in my heart this would be a remembrance of him and of your regard
and would be more dear to me than the gift of a city. Not to detain
you longer I end thus, that I am altogether as much yours as you could
desire and you may command me.
Your Signory's most affectionate friend
Giorgio Vasabi.
BUONARRQTI ARCHIVES
Giorgio Vasabi to Lionardo Buonarroti
Florence, March 1564.
Illustrious Messer Lionardo
Since I wrote to you eight days ago, I have the honour to receive
yours and with it the body of that most holy old man who was the light
of our arts. Had you sent to this city a great treasure it could not have
been a greater gift than this relic of one so celebrated and so honoured.
Messer Lionardo, it will be carried on the shoulders of all the Academi-
cians from where it is to Santa Croce, and the burial will take place
when you give orders.
I have not allowed it to be taken out of the case or touched, I have
caused it to be sealed at the custom house till your arrival, and I have
given notice of everything to his Highness, in the mean time I await
your letter which I requested of you, to enable me to write more distinctly
for your advantage. I am certain that his Highness loves you and will
confer benefits upon you.
To make a monument for him is an idea which pleases me, and as
Messer Daniello writes to me about the statues and marbles in Via Mozza,
I have informed his Highness of every thing, and if Messer Daniello
makes you a design I hope that it will not seem too much trouble to
make one including the figure at Via Mozza and another without it For
my part I cannot guess what use he may wish to make of it I shall
not fail to reply to the letter of Messer Daniello, to whom pray commend
me. Above all remember to inform me well of the affairs of St Peter's
from the year fifty to this time, that I may add to the life, as I wrote
to you, that which is needful in defence against the many evil....
Signed Giorgio Vasabi.
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560 APPENDIX
The monument of Michelangelo existing in Santa Croce, Florence, was
designed by Vasari and erected at the joint expense of Duke Cosmo and
Lionardo Buonarroti. The Duke supplying the marble and Lionardo
defraying the other expenses. On the monument are three figures of
Painting, Sculpture and Architecture. The first with the bust of Michel-
angelo was executed by Battista Lorenzi, the second by Giovanni Bandini,
the third by Yalerio Cioli. This monument was completed in four yean,
there being a record of the payments made for it dated the 20th of
July 1568.
In Rome also a monument was erected in honour of Michelangelo, in
the cloister of the convent connected with the Church of the Holy Apos-
tles. He is represented in a recumbent* position and in his working dress.
The following epitaph of later date has been placed upon it
MICHAEL ANGELUS
BONAEROTIUS
8CULPTOE PICTOB ARCHITE0TU8
MAXIMA ABTIPIOIUM FBEQUENTIA
IN HAO BA8ILT0A 88. XII AP08T. P. M. C.
XI OAL MART. A MDLXIV ELATUS EST
CLAM INDB PLORENTIAM TRAN8LATU8
BT IN TBMPLO 8. CBUGI8 EORUMD. P.
V. ID MART BJTOD A C0NDITU8
TANTO NOMINI
NULLUM PAR XLOGIUM
At one time it was disputed that this was in reality a monument to
the memory of Michelangelo. In the Buonarroti Archives some letters
are preserved written by Diomede Leoni to Lionardo Buonarroti to con-
sult him as to the inscription for a monument the last of which indicates
that it was either in the course of erection or completed.
BUONARROTI ARCHIVES
Rome, 14th August 1568.
c I have long delayed writing to you as to the epitaph for the happy
memory of your uncle, for it is desirable to consult the invention of
several, for everyone wishes something to be done. Do not be surprised
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APPENDIX 561
if I have delayed till this time to send 70a the first which is by a learned
and judicious person. It may rather appear to be long, but you are
aware that little can be said if it be too brief. I have distributed the
letters on the sheet as they will be cut on the stone.... By the next despatch
I shall send you two others written by different persons, and it will be
a pleasure to me to learn which satisfies you. »
Portraits in Bronze of Michelangelo
Daniel da Vol terra modelled two busts of Michelangelo to be cast in
bronze, intended for Lionardo Buonarroti to whom Diomede Leoni and
Iacopo del Duca wrote during the progress of the works. It appears also
by a letter of Diomede to Lionardo written in 1565 that he also had
modelled a portrait.
BUONARROTI ARCHIVES
« I remind you (Daniello) of your two busts, you will find mine nearly
finished, which will make you wish to clean (chase) yours as soon as
possible. »
Diomede Leoni.
Daniello had the models cast in bronze and the above letter shows that
he had not worked upon them in the metal. He died before doiog so.
BUONARROTI ARCHIVES
Letter of 18th April 1566.
« With regard to the metal busts, Messer Daniello has cast them, but
they are in such a state that they must be worked over with chisels and
files, and I do not know if your Signory will like them. J)o as you
please. For my part I wish you had a good memorial of him and no-
thing less. That which I say, I do so from regard, had Daniello been
alive perhaps he would have known how to finish them, as to these people
I do not know what they will do. »
Diomede Leoni.
36
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562 APPENDIX
BUONARROTI ARCHIVES
At the same time Michele Alberti wrote :
Rohm, 17th April 1M6.
Messer Jacomo,
Your friend has informed me that your Signory wishes to know in what
state are the bronze busts of Michelangelo, peace be to his memory. They
are cast and may be chased in a month or little more, when your Signory
may have them. If you wish, you will be served faithfully and well. Ever
M your service.
Michele Alberti.
Another portrait also in bronze was modelled by Antonio del Franzese,
servant of Michelangelo, which, with a small copy of the statue of Moses,
he presented to the Duke of Urbino.
When the Medici inherited the property of the Duke of Urbino the
copy of the statue of Moses and the bronze bust came to Florence and
are now preserved in the National Museum.
ARCHIVES OF THE STATE; ROME
An inventory is preserved referred to. in the letter of Daniello da Vol-
terra, (see ante) which was made immediately after the death of Michel-
angelo. It contains a list of his houshold goods and clothes and besides
these of the works of art which were found, which are thus described.
« In a lower room covered with a roof:
A statue commenced representing St Peter, blocked out and not finished.
Another statue commenced representing Christ and another figure with
it in one piece, blocked out and not finished.
Another small statue of Christ with the cross on his shoulder not
finished.
In the room of the said Messer Michelangelo.
Item a cartoon of two pieces of paper glued together on which is
drawn the plan of the fabric of St Peter's.
Another little cartoon on which is drawn the front of a palace.
Another cartoon on which is drawn a window of St Peter's.
Another cartoon of pieces glued together on which is drawn the old
plan of the said church of St Peter said to be according to the model
of Sangallo.
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APPENDIX 563
Another cartoon with three sketches of little figures (imperfect).
Another cartoon with drawing of a window and others.
A large cartoon, on which is drawn a Pieta with nine figures unfin-
ished.
Another large cartoon on which are drawn three large figures and two
children.
Another large cartoon on which is drawn a large figure alone.
Another large cartoon on which are drawn and sketched the figure of
our Lord Jesus Christ and that of the glorious Virgin Mary, His Mother.
A box of walnut wood was also found in his room, sealed in the first
place at two different places on bands of paper, that is with five long
pieces of paper sealed at each end. These being removed the case was
found to contain:
In a small white earthenware vase in small coin Crowns 104 20
Item in a similar smaller vase sixty-nine Julii 6 90
Item in a green canvas purse, within a handkerchief, two hun-
dred and twenty-four ducats in gold. 224 00
Item in another handkerchief between ducats and Spanish dou-
bloons 119 00
Item in a small bag of white canvas Hungarian and German
coins : 200 00
Item in a handkerchief, Venetian ducats 126 00
Item in a handkerchief, ducats in gold of various coinages . . . 208 00
Item in the above described green bag, ducats in gold 2117 00
Item in a copper vase ducats in gold of various coinages. 264 00
Item crowns in gold, Sardinian 194 00
Item in a broken copper vase with a handle, in the manner of
a bottle, ducats in gold 746 00
Item in the bottom of the box, 16 pauls 1 60
Item wrapped in paper in a white vase as above, crowns in gold,
with a memorial of one hundred crowns on account of the
Sienese 97 00
Item in another copper vase, ducats in gold various coinages . 3994 00
Opening and examination of the Sarcophagus under the statue of Lorenzo
bt Michelangelo, in the Medici Chapel San Lorenzo
On the first of March 1875 the sarcophagus on the northside of the
chapel of the Medici on the lid of which sit the statues of Dawn and
Twilight, was opened after the two statues had, on a previous day, been
raised up and carefully secured on wooden beams.
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564
APPENDIX
On the lid being moved to
one side, it was seen that the
sarcophagus was covered wi th
narrow boards, which were
not fastened in any way and
were easily lifted, l discover-
ing two bodies, one headless
and dressed in black, the tonic
being bordered with white
lace; the other with itn head
towards the altar and its feet
under the shoulders of the
body in black, was clad in a
white linen tunic trimmed
with white lace, the^Jmwewf
also being white. On the
skull of this body, which lay
on a white pillow, there was
a shallow velvet cap, of a
brown colour. The cranium
still bore short, curly , r« hlislj
locks and the teeth were pure
white and perfect. Th i j bo d y
in black was apparently head-
less, but an examination be-
ing made under the tunic,
the head was found, a few
teeth had fallen out, the real
were large, pure white and
perfect.
Both bodies had b
balmed, but the flesh
gone, and the dresses
shrunk into long thin folds,
as the muscles had decayed,
the stuff had dried so as U
em-
was
had
• « As I lifted the end next me of these boards, I believe that the workman at the other
end and I were the first to see the bodies as they lay, and I can therefore answer for-
the acouracy of the sketch, I also pointed out that the head of Lorenzo was under his tank.
It was entirely accidental that I was so placed as to assist as I have described. On a
previous occasion when a tomb was opened a workman died, it was said of inhaling
arsenlo, consequently there was an unwillingness to be the first to uncover the sarcopha-
gus. The only workman who assisted bound up his mouth and nostrils. »
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APPENDIX 566
'resemble brittle paper. The bones were generally of an asphaltic brown,
but blaek in some parts and the natural colour in others? they shone as if
varnished. The gums which had been used lay about in fragments shining
like pieces of broken glass.
From the position of the bodies it would appear that the one in black
had been raised to deposit the other in white, when the head of the first
had fallen off, and been hastily thrust, where it was found, under the breast
of the tunic.
Two strong iron pins had been 'inserted in the bottom of the sarco-
phagus with cement, no doubt intended to hold fast the first wooden lid.
One of these pins had rusted to such an extent that it had fallen down,
the other stood in its place and had necessitated the twisted position of
the body in white, and the placing of its head in the corner of the sar-
cophagus as seen in the sketch.
It was thought necessary by the officials present to examine the skulls,
but besides removing these, the bodies were in about a quarter of an hour
torn to fragments, the lace taken from the dresses appropriated by by-
standers and even teeth carried away. The identity of the bodies was
destroyed, before any careful or satisfactory examination was made. After
haying been laid on the wooden seats of the chapel they were flung back
into the sarcophagus by the workmen, a confused pile of bones.
The body in black thus scornfully treated was that of Lorenzo Duke
of Urbino, who died in 1519. The sarcophagus in which his remains
were found was not completed by Michelangelo till 1534 after which,
it is probable that it was deposited but the statues of Dawn and Twi-
light were not placed on the lid. The body in white was that of his re-
puted son Alexander the first, Duke of Florence. He was assassinated
on the sixth of January 1536 and carried to San Lorenzo in a coffin
covered with gold brocade, which after the usual religious ceremonies, was
placed in the sacriBty with the banners used in the procession in his
honour; for however debauched and tyrannical, he was popular with the
lower orders.
« On the thirteenth of March 1536 he was taken from his wooden
coffin and with renewed pomp, deposited in the sepulchre of his father
made by Michelangelo » (See the Medici Chapels described by Domenico
Moreni, page 93).
Vasari in his autobiography, included in his great work, makes the fol-
lowing statement:
« Having returned to my usual studies I had an opportunity by means
of the said gentleman (M. Ottaviano de' Medici) to enter the new sacristy
of San Lorenzo, when I chose, where are the works of Michelangelo, he
at that time having gone to Home, and thus I studied them for some time
with great diligence, especially as they were on the ground. » This was
in Duke Alexander's reign after 1534. Michelangelo then on leaving Flo-
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566 APPENDIX
rence after the death of Clement had not placed the statues on the sar-
cophagi where they now are. Domenico Moreni in his detailed history of
the sacristy does not say when the bodies of Giuliano and Lorenzo were
finally deposited in the sepulchres designed by Michelangelo. This ap-
parently was done by order of Alexander. The statues of Dawn and
Twilight must have been placed where they now are after his death,
which is farther indicated by another statement of Vasari in the life of
Tribolo, that he moved Duke Alexander to" invite Michelangelo to return
to Florence to finish his work on the monuments. This shows that just
before the assassination of the Duke the statues were still awaiting the
sculptors last touches. They were probably placed on the sarcophagi by
the orders of Duke Cosmo when hopeless of Michelangelo's return from
Rome. When this was done the statue of Twilight had a piece of wood
placed under it which was allowed to remain and had decayed when it
was this year observed by one of the custodi that the statue was slip-
ping from its seat Both statues were lifted and it was seen that they
were placed on marble tenons a foot square and two inches deep. They
were removed from a desire to fasten them firmly with copper pins, and
the opportunity was taken to ascertain the contents of the sarcophagus.
According to a statement published by one of the medical Professors,
who presided over the dismemberment of the bodies, the skull of Lorenzo
indicated that he had been a man of great muscular development and
strength. There was nothing, it is stated, in the formation of the skull
of Alexander to indicate that he was in any way related to Lorenzo.
A circular opening or hole in the head of Lorenzo, was referred to a
passage in Guicciardini's History, which relates that Lorenzo at the siege
of Mondolfo observing a musketeer about to fire at him, to avoid the shot,
flung himself on the ground, thus saving his life, but he was wounded by the
bullet which struck him on the summit of the head and came out at the
neck. A hole in the skull described as being round resulted from this
shot. In the skull of Alexander there is also a remarkable piece of
evidence, that is the distinct mark of the stab in the face which he received
from his assassin Lorenzino, it penetrated the bone to the left of the nose.
I have refrained from offering any remarks on the treatment of these
remains of the dead, but I regret since they were so treated, that in
compensation, no intelligent examination was made of them beyond that
of the skulls.
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APPENDIX 567
MONUMENT
OP GIAN GIACOMO AND GABRIELE MEDICI
MILAN CATHEDRAL "•
Since completing this work the author has had an opportunity of ex-
amining the monument of Gian Giacomo Medici of Melignano alluded to
in the twenty-first chapter at page 543 as having been designed by Mi-
chelangelo and executed by Leone Leoni in the Cathedral of Milan. It
has obviously been carried out from one of Michelangelo's hand sketches
not drawn to scale, by an artist by no means conversant with architectural
details. Thus in the mass it has an imposing character, whilst in all its
details it is very imperfect It is apparent that Leone Leoni knew nothing
of architecture and was quite unable to translate the sketch, with which
he was provided, into a good working design. A colossal statue of Gian
Giacomo in ancient Roman armour occupies the centre of the lower stage
of the monument in a square-headed niche with a column on each side.
He was lame having a short leg, and contrary to all good canons of art
this lameness has been shown in a heroic statue. It is to be presumed
that had he squinted this also would have been carefully indicated. On
each side of him likewise in square-headed niches, in the manner so common
in Michelangelo's design, sit on poorly designed pedestals, bronze statues
representing Military Virtue and Peace. They are both smaller than Gian
Giacomo. Above them are reliefs also in bronze. Statues of Prudence and
Fame stand at each end of the cornice. In the attic is a relief, also of
bronze, representing the birth of Christ.
Leone Leoni was a better sculptor than he was an architect The
statues partially recall the manner of Michelangelo, but not so as to
impair the claims of Leoni to original powers. Like Benvenuto Cellini
bred a goldsmith, his works show the same tendency to minute detail and
high finish. Bronze candelabra and armorials complete the decorations.
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dai
•econd
daughi
1
BUONROMANO
m.
Bellastella di Borgognone
died 1246
BENE BERNARDO ZETTO
traded in Rome I —
in 1286 BUONROMANO PRA BENE
Dominican in 8. M. Novella
1352
Matteo son of Qaalterotto
Catellini da Castiglione
MICHEJuE FRANCESCO
Priest. Prior of 8. Mlchele
Berteldi nel 1426
BRIG ID A SEJuVAGGIA
born 1449 born 1452
i.ii m* m"
_. 1470. Conslglio Pilippo di Tommaso
\l son of Antonio Clstl son of Narduccio dyer
8IGISMONDO
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